Sir William Beechey, R. A.

THE LIBRARY

OF

THE UNIVERSITY
OF CALIFORNIA

LOS ANGELES

UCLA ART COUNCIL

SIR WILLIAM
BEECHEY, R.A.

S1U WILLIAM HKKCHKY, U.A.
Ity i>rrmi*xion of E. G. /lfiplnn-1. K*</.

SIR WILLIAM
BEECHEY, R.A.

BY

W. ROBERTS

JOINT-AUTHOR OF " ROMNEY," AND AUTHOR OF "THE

BOOK-HUNTER IN LONDON," "MEMORIALS

OF CHRISTIE'S," ETC.

LONDON: DUCKWORTH AND CO.
NFW YORK : CHARLES SCRIBNER'S SONS

1907

Ail rifktt rtttrvtd

Art
Library

(YD

HI 7

PREFACE

SIR WILLIAM BEECHEY is one of the many dis-
tinguished artists of the Early English school whose
merits have not been sufficiently recognised, and the
object of this book is to show that this neglect is
unjustified. It is not claimed that Beechey ranks side
by side with Sir Joshua Reynolds, Gainsborough and
Romney ; but just as all officers in an army cannot be
Generals — at the same time, at all events — so it may be
urged that men of the second rank are indispensable.
Beechey, with such men as Opie, Northcote, and many
others greatly helped to consolidate and to continue
the position and work begun by the few men whose
fame has to some degree overshadowed the merits and
achievements of the lesser artists.

This monograph is biographical and iconographical
rather than critical. Each generation has its formulas
and schools of art criticism, but the opinion of to-day
often becomes the archaic curiosity of to-morrow. I
have therefore taken upon myself the less ambitious
but, I think, the more permanently useful office of
chronicler. My own preference would have been a
Catalogue Raisonne of Beechey^ work, and it is in this
form that my material was first arranged ; but it would

vi PREFACE

not have fallen in with the general scheme of the series
in which this volume appears. So my Catalogue
Raisonnt may be conveniently postponed, and nn
exhaustive Index serve here in its stead.

The material in connection with Beechey and his
pictures is much more voluminous than I had antici-
pated. For over sixty years his brush was never idle,
and he had as sitters more than an average share of the
distinguished and wealthy people of the last quarter of
the eighteenth century and of the first thirty-nine years
of the nineteenth century; and so it would not be
difficult to compile a book in connection with his work
and his clients at least twice the size of this. As a first
attempt, however, perhaps my book will be found
sufficiently exhaustive and useful.

Since the work was commenced, and after much of it
was in type, many fresh facts have come under my
notice. I had overlooked the acceptable bequest by
William Thomas Sandby to the National Portrait
Gallery in July 1904, namely, Beechey 's portraits of his
old friend Paul Sandby, painted in 1789, and Thomas
Sandby painted in 1792. These are the two portraits
which were exhibited at the Royal Academy of the
respective years. The portrait of Mrs. Riley, mentioned
on page 146, is more fully described on page 192, and
was lent to the recent exhibition of Old Masters at
Burlington House (No. 118), by Sir Isidore Spielmann.
The Oddie group with the title of " Children at Play "
was reproduced in colours from the engraving by T. Park
in The Comioissetir^ vol. ii. page 7 ; and a similar

PREFACE vii

reproduction of Wilkin's engraving with the legend
" Here Poor Boy without a Hat, take this Ha'penny "
(page 140) was published in the same magazine of
November 1906. The late Baroness Burdett-Coutts
exhibited at the Grafton Gallery, 1894 (No. 172A>,
one of Beechey *s many portraits of his wife. The
publication of the Registers of St. George's, Hanover
Square, has revealed the exact date, unknown to me
until after the earlier sheets were printed off, of Beechey's
second marriage.

I have received assistance from so many friends and
correspondents that specific enumeration is difficult.
My special thanks are due to several members of the
artist's descendants, particularly to Mr. Ernest Beechey
and his uncle, the late Canon St. Vincent Beechey, for
the loan of letters ; to Mr. Sydney Chancellor and to the
President and Council of the Royal Academy for per-
mission to copy their extremely interesting and valuable
Beechey Account Books ; to Mrs. Champion Jones, to
Mrs. Commeline, to Mrs. F. A. Hopkins, to Mr. Herbert
Jackson, for kindnesses of various kinds, all of which
are acknowledged, however feebly, in the respective
places. The Earl of Altamont has been good enough
to take a keen interest in the book, and has settled
several points about which I was in doubt — notably in
connection with the group exhibited at the Royal
Academy in 1809 (page 112), No. 62. Some of the
papers of the period described this picture as represent-
ing Mrs. and Miss Wetherell, and others as of Mrs.
and Miss Cockerell. Lord Altamont tells me that it

viii PREFACE

represents Mrs. S. P. Cockerell, and Miss Cockerel),
afterwards Mrs. Hungerford Pollen. This picture, with
the portrait of Samuel Pepys Cockerell (page 200), now
belongs to Miss Cockerell of Mandeville Place, W. I
am likewise indebted to Lord A 1 turnout for clearing up
the mystery in connection with the two copies of the
Lady Sligo portrait mentioned on page 114 : these
are, there can be no doubt, the two half-length
portraits in fancy dress now at Earl Howe's residence at
Gopsall, Leicestershire. I have still further to acknow-
ledge from the same source the information that
Lady Emily Browne, of Montagu Square, possesses a
portrait of Lord Stowell by Beechey of which I had
no record. Mr. H. B. Spencer, the artist's grandson,
possesses a portrait of Beechey by himself painted in
1794, and also H. P. Bone's enamel copy of it.

I am also under considerable obligations to Mrs.
Bruce Clarke, to Colonel Noel, to Mr. Humphry
Ward, to Messrs. Thomas Agnew and Sons, to Messrs.
Colnaghi and Co., to Messrs. Christie, and to many
others, particularly to the owners of the various
pictures which form the subject of the illustrations in
this book. These illustrations will do much to sub-
stantiate Bcechey's claim to rank as one of the leading
figures in the annals of the Early English School
of painting. There must still be in existence a large
number of important portraits of which I have no
record, and for particulars of which I should at any
time be grateful.

W. R.

ROYAL SOCIETIES' CLUB, S.W.

CONTENTS

CHAP. PAGE

I- i753-'787 • i

II. 1788-1797 . . 30

III. 1798-1806 57

IV. 1807-1817 104

V. 1818-1838 141

VI. THE BEECHEY FAMILY AND THEIR FHIENDS . 179

VII. SOME OTHER PORTRAITS . . . . -197

VIII. BEECHEY ACCOUNT BOOKS, 1789-91, 1807-1826 220

APPENDIX : PICTURES EXHIBITED BY THE

BEECHEY FAMILY ..... 261

INDEX ........ 292

ILLUSTRATIONS

TITLE

Beechey, Sir William
Augusta Sophia, Princess
Augusta Sophia, Princess

Bathurst, Lady G.

(Adoration)
Beechey, Sir William
Beechey, Sir William
Beechey, Lady
Bernard, Lady
Bernard, Lady Thos.

(Psyche) .

Bourgeois, Sir P. F. .
Boyce, Master . .
Boydell, John . .
Brother and Sister .
Charlotte, Queen . .

Coppell, Mrs. . .
Coutts, Mrs. .

OWNER PAGE

E. G. Raphael, Esq. . Frontitpiece
Buckingham Palace . . 4
Duke of Cambridge's

Collection ... 8

Mrs. Marsland Hopkins . 12

National Portrait Gallery . 18

Mrs. F. A. Hopkins . 22

E. G. Raphael, Esq. . 26

James Price Collection . 30

W. Younger, Esq. . . 34

Dulwich Gallery . . 40
Sir C. Tennant . ,46

National Portrait Gallery . 52

The Louvre ... 56
Executors of W. L. Elkins,

Esq 62

Henry Pfungst, Esq. . 66

From the Engraving . . 72

Xll

ILLUSTRATIONS

TITLE

Crotch, William .
Crowe, Miss .
De La Warr, Lady
Duckworth, Admiral

SirJ.

Elizabeth, Princess
Fiddler, the Blind .
George III. . .

George III. Reviewing
the Dragoons .

Hallam, Henry

Hebe .

Herbert, Miss Georgina .

Hill, Mrs. and Child

Hoare, Hon. Louisa

Idle, Master . < .

Kent, the Duke of

Lady and Child

Lake, General Viscount,
and Son . * .

Little Mary .

Marshall, Mrs. . .

Mary, Princess
Merry, Mrs. . .

Noel, Hon. Mrs. W. M.
Nollekens, Joseph .

OWNER FACE

Royal Academy of Music . 76

E. S. Traford, Esq. . 80

Messrs. Dowdeswell . . 86

From the Engraving. . 92

Buckingham Palace . . 96

Mrs. F. A. Hopkins . 100
Executors W. L. EUcins,

Esq. . . » . 106

Kensington Palace
Eton College .

. 112

. 116

122

fler. T. Crawford, B.D. . 126
Mm L. J. Reeve . .132

Col. W. F. L. Noel . 138

Mrs. Oscar Leslie Stephen 142

National Portrait Gallery . 148

W. W. Hallam, Esq. . 154

Major J. C. Wardlan . 158

H. J. Pfungst, Esq. . 164
Messrs. P. and D. Colnaghi

and Co. » . .170

Buckingham Palace . . 176

M. C. Sedelmeyer . . 182

Col. W. F.L.Noel. . 188

National Gallery . 1 94

ILLUSTRATIONS

Xlll

TITLE

OWNER

Dr. Charles E. Shelley . 218

Pel ham-Clinton, Lady C. Earl of Radnor
Riley, Mrs. . . . Sir Isidore Spielmann
St. Vincent, The Earl of The Lady Harris .
Shelley, John, and his

Sister . . .
Sheridan, Mrs., as St.

Cecilia, after Sir J.

Reynolds .
Siddons, Mrs.
Sligo, Howe Second

Marquess of

The Misses Cameron
National Portrait Gallery

Tambourine Girl, The
Wilkie, Sir David .
York, the Duchess of

Marquess of Sligo .
Messrs. Thomas Agnew and

Sons ....
National Gallery of

Scotland

PACB

200
206

212

224
230

236
242

248
254

CHAPTER I

1753-1787

SIR WILLIAM BEECHEY occupies a singularly interesting
place in the annals of English art. The contemporary
and to some extent the friendly rival of the great men
who founded the early English school of portrait
painters, Reynolds, Gainsborough and Romney, he
long outlived them all. He was an exhibitor at the
Royal Academy in the year of Constable's birth, and
was still exhibiting a year after his death. His appear-
ance at the Royal Academy dates four years before that
of Hoppner, whom he survived nearly thirty years ; he
was exhibiting when his greatest rival, Sir Thomas
Lawrence, was a child of eight, and was represented on
the walls of the Academy for eight years after Law-
rence's death. As an exhibitor he had twenty-six years
to the good when Sir Francis Grant, the eighth Presi-
dent of the Royal Academy, was born. It will be seen,
therefore, that Sir William Beechey's career as an
exhibiting artist, covering as it does the extraordinarily
long period of sixty-two years, is almost unique.* It
began with the birth — or, at all events, with the early

* It may be mentioned that John Linnell, sen. (1792-1882),
was exhibiting at the Royal Academy from 1807 to 1881, a period

2 SIR WILLIAM BEECHEY

youth— of English art, and remained an important
factor in the progress of that art long after it had
triumphed over its early difficulties, and had emerged
into the arena of acknowledged success.

In other respects, too, Beechey had witnessed the
passing of the old order of things and the establishment of
the new ; the gradual metamorphosis of the London of
the Stuarts and the Georges into the London of Victoria.
The introduction of gas, railways and steamboats into
every-day life were all witnessed by him ; the entire
political re-arrangement of the Continent, and the
gradual expansion of England from little more than a
mere island kingdom to a great and mighty world-
power, were among the events which synchronised with
his working life. It seems strange, therefore, that a
man who lived through such an interesting period
should have had to wait so long for a separate
biography. It cannot be urged in extenuation of this
neglect that his individuality was a small one, or that
his work falls so far behind that of his rivals and con-
temporaries that either may be regarded as a negligible
quantity. For he was a man of strong character and
originality, and enjoyed the patronage of the most
distinguished men of his times. A mere glance at the
reproductions in this book will sufficiently demonstrate
the high quality of his work. The interest and im-

of seventy-four years, which is probably a unique record so far
as this country is concerned. Mr. W. P. Frith, R.A., was
exhibiting from 1840 to 1902, a length of time identical with that of
Beechey, who, however, exhibited up to the year of his death.
Mr. Frith is still living, but has ceased to exhibit.

portance of his art may be seen to-day, but
only imperfectly, in our national collections, for the
finest of his pictures are in private hands and in the
galleries of very many of the great residences in the
land.

The Beecheys had been settled at or near Burford on
the Windrush for many generations. The artist's
grandfather, Samuel, married Eleanor Mills, daughter
of William Mills, and died in 1764. Their elder
son, William, married Hannah, daughter of Francis
Read (who was born in Dublin and who died at
Burford). The elder William had one brother,
Samuel, who married and settled, it is not known
when, at Chipping Norton, and two sisters. Both
William Beechey* and his wife died when their
children were quite young, and the responsibility of
bringing them up devolved upon Samuel Beechey, who,
according to the family documents, was a solicitor or
attorney. These children, four sons and one daughter,
included William, afterwards Sir William Beechey, R.A.,
Samuel, who died unmarried about 1780, Thomas, who
died in infancy, Hannah, who was twice married, and
the youngest child, named Thomas after his deceased
brother.

It was Samuel Beechey's wish that his nephew should
become a lawyer, but the boy did not at all take to the
proposition, for from his very early years his mind was

* It is interesting to note that the Gentleman's Magazine records
the death on December 28, 1789, "at an advanced age" of
"William Beechey, senr., Esq., of Dublin."

4 SIR WILLIAM BEECHEY

set on drawing, and his lesson-books were embellished
with his sketches and caricatures. Young Beechey
doubtless attended the old-established Grammar School
at Burford, and his artistic instinct would have been
excited and cultivated by the famous Lenthall gallery
of portraits which remained in the old hall at Burford
until the choicer portion of them came up for sale at
Christie's in 1808. After various reproofs, Beechey 's
uncle, in despair, took to shutting the boy up in an
attic with nothing but his school-books until he had
mastered his lessons. One day the uncle went up as
usual to let the boy out, and found the bird flown. He
had escaped by climbing down a pear tree, and on
looking out of the window the uncle saw the boy flying
across the fields. He set off after him, and on seeing
that he was pursued the boy swam across the river,
escaped, and begged his way to London. Soon after he
arrived he passed a carriage-painter's establishment and
went in to watch ; the man seemed to be amused, and
asked him what he wanted ; he said he wanted to earn
some money, and thought he could paint. The good-
natured man said he should try, and gave him a board
and paints and a device to copy ; he was so pleased
with the result that he finally employed him to assist.
He got on so well that he painted the arms, etc., of
several great people's carriages, one of them, on hearing
it was quite a youth who had painted the panel of his
carriage, asked to see him, heard his history, and had
him taught to paint. While he was still a youth he
went with some friends for a holiday into the country,

Collection A. Riscltgitt

H.R.H. PRINCESS AUGUSTA SOPHIA
Buckingham Palace

1753-1787 5

and they decided upon a walking tour from London to
Norwich. On their way they stopped one night at an
inn, and the next day after breakfast discovered that
they had no money left. Beechey at once offered to get
them out of the dilemma, which he did by offering to
replace the very shabby sign-board with a brand-new
one in discharge of their account. The landlord agreed,
and Beechey furnished him with a splendid sign of St.
George and the Dragon. In after years Beechey made
an attempt to get hold of this early work, but the land-
lord and the sign had both disappeared.

Such are the stories of Beechey 's early youth as handed
down in the family.

The hitherto published accounts of Beechey 's earlier
years differ somewhat from those preserved by his
descendants. Three obviously inspired accounts appeared
during his lifetime — the first in the Monthly Mirror of
July 1798, the second in " Public Characters " of 1800-
1801, and the third in "The Cabinet of Modern Art,11
1836, edited by A. A. Watts. We gather from these
articles, that he was born at Burford, Oxfordshire, on
December 12, 1753, and that he was intended "for
the law," for which purpose he was placed " at the
proper age" under an "eminent conveyancer" near
Stow-in-the-Wold, Gloucestershire. But Beechey was

" Early foredoom'd his father's [i.e., uncle's] soul to cross,
And paint a picture when he should engross."

He did not remain long at his first place : he was
bent on coming to London, and to London he came.

6 SIR WILLIAM BEECHEY

He is said to have been " disillusioned,'1 finding " neither
pavements of gold nor houses of silver."" He obtained
employment with a Mr. Robinson, of Inner Temple
Lane, with whom he remained until Robinson's death ;
he then went to a Mr. Hodgson in Cliffords Inn, and
from here he passed to the employment of Mr. Owen,*
of Took's Court, Cursitor Street, Chancery Lane, to
whom he was articled.

It was during his engagement with Owen that he
accidentally became acquainted with several students
of the Royal Academy. "The objects in which they
were engaged " (says the writer of the notice in " Public
Characters "), " attracted and enchanted him ; by the
splendid assemblage of colours which they mixed upon
the palette, and transferred to the canvas, his eye was de-
lighted and, by the field thus opened to him, his disgust
of his original profession increased, and he determined
to change his pen for the pencil, his ink-stand for the
colour-box, and his desk for the easel ; eagerly embarked
in a new pursuit, and exerted every effort to acquire the
rudiments of that art in which he has since so eminently
distinguished himself." He prevailed upon Mr. Owen
to accept a substitute for the remaining time of his
articles, and in 1772 entered the Royal Academy School
as a student. Young Banister was there at the time,
and the two students toon became intimate friends.

According to several writers, Beechey received lessons

* In the 1782 edition of "Browne's General Law List." we
find in the " List of Attornies," the name and address of " Owen.
Charles. Took's Court, Cursitor Street."

'753-1787 7

from Sir Joshua Reynolds himself, but this is doubtful ;
Dawson Turner, who knew the artist personally, states
in his "Sepulchral Reminiscences," 1848 (p. 74) that
Beechey studied under Zoffany,and the style of his earlier
works strongly supports this theory. The probability is
that he may have received hints from and visited the
studios of both artists. It is also stated that soon after
his entrance to the Academy schools, Beechey married,
" before he had secured any certain provision for him-
self.1" And this brings us to a point about which there
is no room for any doubt — namely, that Beechey was
twice married. This fact seems to be unknown to any
of his numerous descendants. In more than one
biography published during his lifetime there are
references to the fact of his having been married more
than once. Moreover, in J. Chamber's "General
History of the County of Norfolk," 1829 (vol. i. p. 1 1 14),
we have the following exceedingly explicit information
respecting the artist and his second wife : " After the
death of his first wife he married the present Lady
Beechey, then residing at the foot of Household Hill,
who, having very early discovered considerable talent
in crayon drawing, he, with that liberality which is his
characteristic, gave her gratuitous instruction, and,
having married her, he went to reside in London ; by this
union he has fifteen children, thirteen of whom are living."
Who the first wife was, when they were married, or
when she died, are points about which we have found
no information. That she was with him in Norwich
when he first went there may be inferred from an

8 SIR WILLIAM BEECHEY

erased passage in his Note Book quoted on p. 20. If
the identity of his first wife is involved in uncertainty
that of his second is at least real. Anne Phyllis Jessup
(or Jessop) is described as a woman of great beauty, and
the existing portraits of her, both by her husband and
by herself, go to prove this. They are said, in the family,
to have effected a " runaway match," but perhaps a
" hurried marriage " would be a more accurate descrip-
tion. Miss Jessop (this seems to me the more generally
accepted form of spelling) was born at Thorpe on
August 3, 1764, the daughter of William Jessop, of
Bishopsgate, Norwich, and his wife nte Hart, a
"collateral descendant of Shakespeare." The second
marriage presumably did not take place until 1787, for
in that year " Miss A. P. Jessup," of Norwich, exhibited
five drawings at the Royal Academy.

He made rapid progress as an art student, and at an
early stage " found employment M in copying Sir Joshua
Reynolds and " painting panel ornaments for Lucas the
coach-builder." Beechey painted in the lifetime of
Sheridan (who died in 1816), a copy of Reynolds'^
famous picture of Mrs. Sheridan as St. Cecilia, exhibited
at the Royal Academy in 1775, as may be seen from an
entry in the Account-Book under date, March 20, 1826 ;
the copy was never claimed by Sheridan, and it was
sold to a Mr. Burgess for I7ogs. This very fine full-size
copy was the property of the late Mr. T. H. Woods,
a former partner in the firm of Christie, Manson and
Woods, at whose sale on May 26, 1906, it was bought
by Mr. J. L. Rutley, for 75ogs. " During this period "

H.K.H. 1'KINCESS AUGUSTA SOPHIA (1819)
From the Duke of Cambridge's Collection

(we are again quoting " Public Characters "), " labouring
up hill to attain that rank in his profession which he
must have felt he had a right to, he inevitably experienced
many difficulties under which a common mind would
have sunk. But the ardour and energy of his spirit
supported him ; for, happily, with the ambition of
attaining reputation, he possessed the power of deserving
it, and surmounted every obstacle."

An artist's first picture — like an author's first book —
possesses a distinctly sentimental interest, at all events
to the artist himself and to his family. Henry Angelo
tells us in his interesting " Reminiscences " : " It is with
additional gratification I can add that the second
portrait painted by Sir William Beechey was of my
father, the first which this distinguished veteran of the
British School painted, being that of my father's
esteemed friend, the Chevalier Ruspini, whose elegant
hospitalities I have often enjoyed at his house, then
situated at the corner of St. Albans Street." As
Angelo also claimed that Hoppner's first portrait was
painted for him, perhaps his memory was slightly con-
fused. According to the accounts published in Beechey's
lifetime, the artist's first serious patron would seem to
have been Dr. Strachey, afterwards Archdeacon of
Suffolk, who happened " by accident to see one of his
productions," with which Strachey was so pleased " that
he immediately employed the artist to paint himself
and family " (Monthly Mirror). But here again there
seems to be a slight discrepancy, for Beechey's most
important work for Dr. Strachey was done in 1789,

io SIR WILLIAM BEECHEY

according to the artist's Account-Book, but there were
perhaps earlier commissions, of which we have no record,
executed for the Archdeacon. Soon after this Beechey
was introduced by Mr. Fenton,* " a gentleman of very
elegant manners, and whose love for poetry and the
arts is not unknown to the world," to Mr. Ruspini, who,
in his turn, introduced him to the Duke and Duchess
of Cumberland. The picture of the Chevalier's family
was, it is said, Beechey 's first exhibit at Somerset
House. This brings us to the year 1776, when Beechey
(whose address is given in the catalogue as " at Mr.
Leader's, Cross Street, Carnby Market") appeared for
the first time at the Academy, Nos. 20 and 2ox being
" a small portrait " and " ditto."

By " a small portrait " is meant a portrait on a
small canvas similar to those executed by Hogarth and
by Zoffany, or what are known as " small whole
lengths." Curiously enough, several of these portraits,
among Beechey's earliest efforts, have come into the
sale room during the last few years. Two portraits of
Archdeacon Strachey, one a whole length on canvas,
36 in. by 28 in., were sold at Christie's on May 7, 1898,
but their very interesting character passed without
notice and they all sold for less than £& each. One
might have been almost described as a large miniature,
seeing that it only measured 1 1 ^ in. by 9 in. It was

* "Mr. Fenton "was Richard Fenton (1746-1821), topographer
and poet, whose " Poems" appeared in 1773, he was a K.C., and the
historian of Pembrokeshire ; Beechey's portrait of him was sold at
Christie's, on February 25, 1905.

'753-1787 "

in this manner that Beechey continued generally but
not exclusively to paint until 1790, and in which,
according to the writer in " The Cabinet of Modern
Art," Sir Thomas Lawrence was of opinion that no
modern painter had ever excelled him in this de-
partment of his art, either for correctness of resem-
blance, delicacy of execution, or grace of design and
composition.

All the early catalogues of the Royal Academy
possess a curious interest to-day, not only in connection
with the artists whose names and works are now
perfectly familiar to us, but also on account of the
very large proportion of men who have long since sunk
into hopeless oblivion — artists whose names will be
vainly sought for in Bryan, and probably also in The
Gentleman's Magazine. It is doubtless a case of the
survival of the fittest. But in spite of the forgotten
exhibitors who figured in the Royal Academy of 1776,
there were nevertheless many represented there who
were destined to remain living realities in the records of
English art. The President, Sir Joshua Reynolds
overshadows all, both in greatness and in number, for
his exhibits were thirteen, of which four were whole-
lengths, the Duchess of Devonshire, Mrs. Lloyd
inscribing her name on the bark of a tree, Lord
Althorp in the style of Vandyke, and Omiah, whilst the
smaller portraits included a half-length of Lord
Temple, which Walpole described as " the finest
portrait he ever painted," the well-known engraved
portrait of Master Crewe as Henry VIII., and the

12 SIR WILLIAM BEECHEY

three-quarters of Garrick and the Duke of Devonshire.
There were in all 330 exhibits by professional artists,
and sixty-one " honorary exhibits."" The exhibits were
arranged alphabetically according to the artist's names,
and turning over the pages of the rather shabby-
looking catalogue we notice John Bacon, George
Barrett, James Barry, F. Bartolozzi, Mary Benwell,
J. Boydell, Sir George Chambers, Sir W. Chambers,
Richard Cosway, S. Cotes, N. Dance, Geo. Engleheart,
W. Hodges (of " Pimblico "), N. Hone, Angelica Kauff-
mann, J. Meyer, Northcote, Nollekens and B. West.
Gainsborough was unrepresented at this year's exhibition,
and Romney, who had only just taken Cotes's house in
Cavendish Square after his long residence in Italy, and
quickly became Reynolds's most serious rival, was not
an exhibitor, in 1776 or at any other time at the
Academy. The Academy of 1776 " proved more
attractive than any of its predecessors, and produced
£1248 16*. " as against the £1001 8*. of that of 1775
(Sandby's " History of the Royal Academy," vol. i.

P- I52)-

We have given a few brief particulars of the Academy

at which Beechey made his first appearance, and it will
be interesting by way of comparison to look through
the catalogue of the exhibition of 1837, the last but
two at which he exhibited. The old order had indeed
passed away giving place to the new. Sir Martin A.
Shee was president, and Beechey 's R.A. colleagues
included such men as Callcott, Chalon, Sir Francis
Chantrey, Etty, Landseer, Clarkson Stanfield, J. M. W.

A DO H ATI (>X (LADY QEOBQINA BATHURST)

By permission of Mr*. Marxlnnd H<>i>kins

1753-1787 13

Turner, and David Wilkie. It was the last Academy
at which Constable exhibited. The 361 exhibits of
1776 had increased to 1289, and probably every one of
Beechey^ fellow exhibitors of 1776 had long since been
dead or ceased to exhibit. He was by many years the
doyen of the exhibitors, although Robert Smirke (who
was no longer exhibiting) began to exhibit one year,
and was elected an associate of the Academy two years,
before Beechey. Smirke and Beechey were two of the
six surviving Academicians whose elections took place
in the eighteenth century. It is interesting to note
that Smirke was just one year older than Beechey, and
survived him six years, dying in 1845, but as an
exhibitor at the Royal Academy, Beechey preceded
Smirke by just ten years.

With such an extraordinary record, it is much to be
regretted that Beechey has left us no souvenirs or
reminiscences of his contemporaries. Very little is
known of his personal traits, but we get just one or two
outlines in Redgrave's "Century of Painters" (1866,
vol. ii. p. 341) : " The gossip of art has left us little
to tell of Beechey, but we learn that he was of the old
school, who did not abstain from the thoughtless use of
unmeaning oaths. Calling on Constable, the landscape
painter, he addressed him, ' Why, d — n it Constable,
what a d — d fine picture you are making ; but you
look d — d ill, and have got a d — d bad cold.1 " It is
said that in his later years Beechey complained of the
increasing sobriety and decreasing conviviality of both
artists and patrons of art. At one of the annual

I4 SIR WILLIAM BEECHEY

dinners of the Academy he remarked that it " was
confoundedly slow to what was the wont in his younger
days, when the company did not separate until a duke
and a painter were both put under the table from the
effects of the bottle." But when Beechey first practised
his art, the artist was generally regarded as a nondescript
vagabond, chiefly fit to associate with strolling actors ;
and his mourning for old times was only another way
of admitting that in theory at least the artist had
become a gentleman, or, at least, a respectable member
of society. We get a few more particulars of a
personal character from a sympathetic but short
obituary notice which appeared in The Gentleman's
Magazine (1839, vol. i. pp. 432-3): "In stature he
was rather below the middle size, and was always active
on his limbs, even down to a very recent period, and
his intellectual faculties were clear and healthy to the
last; his temperament was somewhat warm, and his
friendships lasting ; his disposition was very cheerful all
through life, and this happy turn of mind, together
with his inexhaustible treasury of anecdote, which he
disclosed with a good deal of original humour, made
his companionship very agreeable." " The leading
features in Sir William Beechey's character," said the
writer of The Times obituary notice, " were a genuine
simplicity of mind and manner, united with a frank-
ness and cheerful urbanity which placed every one at
their ease who approached him. His aimable disposi-
tion never failed to have its influence in securing affec-
tion or regard, while his high sense of honour and

1753-1787 '5

uniform rectitude of principles commanded esteem and
respect. His heart and his purse were ever open at the
call of humanity, and, though frequently imposed upon,
he never lost the kindly feeling and the liberal disposi-
tion which prompted him at once to commiserate and
to succour, without the slightest regard to his own
personal convenience. ... If posterity, in fact,
should be able to appreciate his worth, as they will not
fail to estimate his talent, he will live in the heart of
every honest man to many a remote generation.11

There are many well-authenticated stories of Beechey's
kindness to young artists. C. R. Leslie, in his " Auto-
biographical Recollections " (vol. ii. p. 27) admits this,
adding, however, that : " I received very little encour-
agement from him, as he pointed out innumerable
faults, and not one part on which I had succeeded. He
looked principally at the portrait, as the other was not
so much in his line of painting. Sir William is extremely
open and candid, even to bluntness. He told me when
I was coming away that whenever I wanted another set
down he would be happy to accommodate me. I shall
certainly call frequently on him, although I must
confess I felt somewhat dispirited, yet I consider it very
wholesome chastisement, and am certain that I shall
benefit much by it.11 Allston, the American artist, told
Leslie that he once showed a picture to Sir William, who
said to him : " Sir, that is not flesh but mud ; it is as
much mud as if you had taken it out of the kennel and
painted your picture.11 Allston himself has left us
some amusing anecdotes concerning the artists of his

16 SIR WILLIAM BEECHEY

time, and one of these shows us Sir William Beechey
criticising a young artist's picture : " Very well, C.,
very well indeed. You have improved, C. But, C.,
why did you make the coat and the background the
same colour ? " " For harmony, sir," replied the youth.
" Oh, no ! C., that's not harmony, that's monotony.""

From 1776 to 1782 Beechey was regularly hung at
the Academy. His works were all anonymous portraits
of ladies or gentlemen, whose names, with one excep-
tion, have not been identified. In one case we have a
" Conversation " piece ; in another a fancy picture of " a
lady in the character of Venus," illustrating a passage
Virgil's " jEnid." His exhibits appear to have attracted
little or no notice from the critics of the day, such as they
were, and the artist apparently himself felt that he was
not making much headway. He had made the acquaint-
ance of Reynolds, who was so pleased with some pictures
from Beechey's pencil, " which he desired to have left
in his painting-room, that he not only placed them over
his chimney-piece, but spoke of them in the kindest
terms of approbation, and directed the attention of his
various sitters to their merits." (" Cabinet of Modern
Art.") P. F. Seguier, in his " Dictionary of Painters,"
1870 (p. 14) observes: "Beechey ranks with the
followers of Sir Joshua, his pictures have the general
effects of Sir Joshua's portraits, especially if viewed
from a little distance; but on a closer inspection it
will be found that the colouring is smoother and
thinner. The hands, although well drawn, have con-
siderably less impasto than Reynolds's, but, like

17

Reynolds, he glazed his flesh tints ; we find in them a
slight glaze of vermilion and brown pink, yet the whites
and very light colours in different parts of his portraits
are frequently left pure and untoned. Beechey's full-
length portraits stand well, being easily and nicely
outlined. . . . The landscape backgrounds of his
portraits are nicely painted and usually toned with
brown pink, asphaltum, or some such colour. An
anecdote is told of Beechey, that on one occasion he
had given too much tone or glaze to the foreground
details of one of his portraits, so that the eye rested
unpleasantly on the gilt sword-hilt in the portrait.
On pointing out the grievance to Sir Joshua (who
happened to come in at the moment), Sir Joshua took
the palette from his friend, and introduced some un-
toned or unbroken colour in the right corner of the
portrait, the lightness or prominence of which immedi-
diately drew the eye from the sword-hilt."

During the first seven years of his career as an
exhibitor at the Academy Beechey had six addresses in
London. The first, as we have seen, was at Mr. Leader's;
in 1777 he was living in Thomas Court, King Street,
Golden Square ; during the next two years he was
residing at No. i, Chapel Court, King Street, Golden
Square; in 1780 he was at No. 25, Cumberland Street,
Middlesex Hospital ; in the following year his address
is given as Dean Street, Soho ; and in 1782 as No. 12,
Castle Street, Oxford Street.

Beechey's visit to Norwich could not have been an
accidental enterprise. We are told, indeed, that in

B

1 8 SIR WILLIAM BEECHEY

1782 he was " invited to spend a month " in that city,
where he " found himself in the immediate receipt of so
many commissions in that town and neighbourhood that
he was induced to take up his abode there altogether.'*1
Beechey's visit was well timed. Heins and Thomas
Bard well, who had for many years enjoyed a monopoly
in portrait painting in Norwich and surrounding dis-
tricts, had been dead for some years ; examples of their
portraiture are to be found still in many of the country
houses in Norfolk, and several of each artist are in St.
Andrew's Hall, Norwich. Very little is known concern-
ing Beechey's stay in Norwich or of the portraits he
painted there. Dawson Turner tells us that he fre-
quently visited Yarmouth, " where he on one occasion
resided for a twelvemonth " ; but in old directories he
is described as " W. Beechey, portrait painter, 4, Market
Place/'1 and afterwards as " Limner at E. Leeds, 1 29,
Pottergate Street.11 (The Caian, Michaelmas, 1899,
p. 21.) A diligent search through the files of the old
Norwich newspapers and other records would doubtless
reveal some interesting particulars concerning Beechey
and his various works. There are four portraits of his
at St. Andrew's Hall, the famous one of Nelson, " the
last for which Nelson sat,11 John Patteson (mayor in
1788), John Staniforth Patteson (mayor in 1825), and
Robert Partridge (sheriff in 1780 and mayor in 1784);
the last of these is the only one of the four painted by
Beechey during his residence in Norwich : the artist
was at the time living in the Market Place, "as a
medallion and portrait painter.11 According to

SIU WILLIAM I5KKCHKY, K.A.
Xationul Portrait Gallery

1753-1787 '9

Chamber's " History of the County of Norfolk," this
portrait of Partridge was " the first whole-length of the
full size " which Beechey painted in Norwich. From the
same authority also we learn that Michael Sharp was
one of his pupils, from which it may be inferred that
Beechey not only painted portraits but also gave lessons
in painting in that city.

Beechey exhibited nothing at the Royal Academy in
1783 and 1784 ; but he broke fresh ground by sending
three pictures from Norwich to the 1783 exhibition of
old Society of Artists in London, and these were a Lady,
whole length, a Gentleman, three-quarters, and a Family
Group of small whole-lengths. We get a slight
glimpse of his life at this period from an exceedingly
interesting Note-Book, the property of Mr. Sydney
Chancellor (whose wife is a granddaughter of the artist's
son, Henry William Beechey). This Note-Book was
begun on August 21, 1784, and was originally intended
for " common occurences." The following is the first
entry : " Sunday 22 went to Lexham with Mi's. Chafe
(or Chase), Mrs. Holl and Miss Mary Christmas in a
post-chaise from the ' King's Head ' ; arrived by two to
dinner. Next day went to Raynham (to see Lord
Townshend's pictures)* on horseback — some very fine
portraits of Van Dyck, and a picture of Bellisarius of
Sal. Rosa ; the figure of Bellisarius appears rather like
an actor than a real blind man. A blind man, for
instance, would not open his arms in the attitude of

* These pictures, or a considerable selection of them with the
Salvator Rosa,' were sold at Christie's on March 5 and 7, 1904.

20 SIR WILLIAM BEECHEY

making a soliloquy on human mutability and the vicis-
situdes of time amongst surrounding rums as though he
either saw them, or was purposely led to the spot and
told what objects were near him — you would not judge
him to be blind if you did not know it before. The
composition is extremely good, the design admirable, the
chiaroscuro striking, but not judiciously contrived, for
the light leaves off too abruptly on the right thigh, and
has a very disagreeable effect ; the colouring is excel-
lent. I returned to Norwich with Mrs. Holl and Miss
Sally Christmas the same evening, arrived about 8.
Supt with Chafe, Mr. Bacon, Mrs. B., Mrs. Holl and
Miss Christmas."

Then follow two memorandums : " October 25. Re-
ceived letter from Mr. Ward, who is removed to 116
Edgeware Road, Paddington ; " and " Mrs. B. went to
I^ondon last Tuesday was a month the 28th September,
1784." The italicised words are crossed out. The
next half-page is completely blocked out, and the leaf
which followed is cut out of the book. The following
interesting notes occupy the whole of the next four
pages : " Sold my picture of the Fortune Tetter to
Mr. Hudson, No. 48 Great Russell Street, Bloomsbury,
for 20 guineas, he gave me an order to paint him a com-
panion, which I promised to do in 3 months.1"

" Saw my pictures in the Exhibitions which appeared
in a good stile, and which I shall endeavour to improve.
Maltby's look'd rather flat for want of bolder
shadows.

" Aug. 6th went to do Mr. Cooper's at Yarmth, and

1753-1787 21

finished Mrs. Cooper's picture, which was approved
of, and on the nth went by Lord Orford's invitation
to Houghton with Armstrong. Ld. Orford behaved
very polite, and gave me an invitation to repeat my
visit in 5 weeks, when Cipriani and Fuseli were to be
there — I staid 3 days, and returned to Norwich on the
Sunday.

" Went to Ld. Orford's with Miles and Armstrong,
where we meet with a very cordial reception from his
lordship. Fuseli and Cipriani was there, who were
extremely glad to see me, the latter seem'd much recovered
from his late severe loss of his only daughter, a young
lady of about 16, who was very accomplish^, and as
her mother died several years before, she was in conse-
quence very dear to her Father. I called on him in
May last in London, and not knowing she was lately
dead, unfortunately enquired after her health, he calmly
answered ' she was very well.1 At dinner time Ld.
Orford desired the artists to sit together that they
might have an opportunity of discoursing on topicks
relative to the arts ; the rest of the company consisted
of aeronauts, and Balloon makers, namely, Major Money
of Norwich, Mr. Blake, a young man in the sea service,
Mr. Sheldon, the surgeon and lecturer, Mr. Thome, a
projector of trifles, a gentleman and his son from Lynn,
Lord Walpole and his son the Colonel, Captain some-
body who rescued the Major from a watery death, and
Major Loyd, a gentleman of a mild and aimable dis-
position, whose little drawings in bistre does him great
credit, considered as the productions of a gentleman

22 SIR WILLIAM BEECHEY

who never studied the depths of the art ; he has some
good pictures which he wishes me to look at — as the
company consisted of such gentry, it is natural to
suppose that their conversation would turn on nothing
but what makes the best gas, what ingredients
make the best balloon varnish, the comparison between
Planchard [?] and some other aeronaut, etc. etc. etc.,
so that the idea of his lordship's putting the artists
together was judicious, polite and charitable.

" On my asking Fuseli what was doing in London,
he told me the manufactory in Newman Street went on
as usual, that Reynolds was daubing away, and Gains-
borough was painting pigs and blackguards. Cipriani
informed me that Fuseli had a total aversion to Barry
and his works, and proposed a scheme to me of setting
him completely up, as he term'd it, and which was,
that the next day as we were drawing together we
should praise the pictures of Barry in the Aldelphi. I
began the attack by asking Fuseli how he liked Barry's
pictures at the Academy ; he said he did not know
what to make of them, for as he did not understand
Irish, he was unable to judge. On my asking him if
the pictures in the Adelphi had not great merit, he
said, certainly they had merit, but it was more trouble
to find it than it was worth, it was a damned Irish com-
position, he had put doctor Burney up to the neck in
the Thames playing with fat — water nymphs."

The visit to Lord Orford was in August 1785, for
Cipriani died on December 14 of that year. Major
Money was John Money (1752-1817) an army man,

SIR WILLIAM HKECHEY, K.A.

Ascribed to himtetfbttt probably by II. liotlucell, K.H.A.
Jty iHTinissioH of Mrs. F. A. Hopkins

and one of the earliest English aeronauts, who made
two ascents in the year 1785. "Mr. Sheldon the
surgeon " was doubtless John Sheldon (1752-1808) an
anatomist who carried on a private anatomical school at
Great Windmill Street from 1777 to 1788, and is said to
have been the first Englishman to make balloon ascents.
Beechey himself tells in the foregoing excerpts that he
was in London in May (1785) so that his reference to
" the Exhibition " would mean the Royal Academy of
that year, in which he had nine pictures. The " Maltby "
portrait would have been one of these, and this portrait
is doubtless that of George Maltby, father of the
Bishop of Durham, now at the Durham University.

From the fact that Beechey encouraged John Crome
in his artistic aspirations, it has been assumed that the
acquaintanceship between the two was first formed at
Norwich, but this would not seem to have been the
case. Dawson Turner, in his "Memoir" of Crome,
i j8, thus reports Beechey's recollections of the founder
of the Norwich School of Painting : " Crome, when I first
knew him, must have been twenty years old [he was
born on December 22, 1768], and was a very awkward,
uninformed country lad, but extremely shrewd in
all his remarks upon art; though he wanted words
and terms to express his meaning. As often as he
came to town he never failed to call upon me, and to
get what information I was able to give him upon the
subject of that particular branch of art which he had
made his study. His visits were very frequent, and all
his time was spent in my painting-room, when I was not

24 SIR WILLIAM BEECHEY

particularly engaged. He improved so rapidly that
he delighted and astonished me. He always dined and
spent his evenings with me.r>

Beechey contributed, as already stated, nothing at
the exhibitions of 1783 and 1784, and so he may be
presumed to have been profitably employed in painting
the portraits of the local gentry and celebrities of
Norfolk. To the Academy of 1785 he sent nine
pictures, of which three were small whole lengths, two
were three-quarters (i.e., 30 in. by 25 in.) and one a
fancy subject, The Witch of Endor. To the exhibition
of the following year he also sent nine pictures from
Norwich, chiefly portraits, one being of Master Crotch
" the celebrated musical genius," and three others being
A Gipsy Fortune-Teller, The Conj urer, and " an alle-
gorical picture painted for a society of United Friars in
Norwich." The " United Friars," it may be mentioned,
was a society founded on October 18, 1785, by Thomas
Ransome of Gurney's Bank, William Wilkins, the
architect, W. Beechey, the artist, Edward Miles, the
artist, Thomas Hall, Rishton Woodcock, and John
Cooke, and held its meetings in a house in St. Marti ns-
at- Palace.

With regard to one of these pictures, The Fortune-
Teller, Beechey would seem to have painted two works,
with this title. The earlier was probably that sold at
Christie's on March 19, 1898," with the engraving" for
a small sum; the canvas measured 21 in. by i6£ in.
On September i, 1792, John Young published an
engraving in mezzotint of what must have been an

i 75 3- i 787 25

important group by Beechey under the same title.
The engraving is thus described by J. Chaloner Smith,
" British Mezzotinto Portraits," No. 72 : " Whole
lengths, on right, gipsy woman with child on her back,
holding open the palm of a young girl's hand, whose
face is averted from her in fright, and who is supported
by a boy on left, who encourages her, small spaniel in
front, trees in background ."" This engraving is dedicated
to her Grace the Duchess of Devonshire, and on it the
Devonshire and Spencer arms are quartered together.
Chaloner Smith points out that this engraving is a
companion to Young's mezzotint of Hoppners The
Show, which is dedicated to Lady Duncannon, and
has the Bessborough and Spencer arms. "The
ladies," he says, " to whom those prints are dedicated
were sisters, and there is every probability that the
pictures were portraits of them and their children."
This theory is extremely feasible, but the group is
neither at Chatsworth nor at any of the other residences
of the Duke of Devonshire. The portraits would
represent the beautiful Georgiana, and her two children
the Marquess of Hartington (who was born in 1790,
and his sister, Georgiana Dorothy (born 1783) afterwards
Countess of Carlisle.

On the other hand, and except for very powerful
reasons, it is scarcely likely that Beechey would have
omitted exhibiting such an important picture, which
may be that of A Noblemaii's Family with a Dog, in
the 1791 Academy. The absence of the picture from
the Duke of Devonshire's collection is explained to

26 SIR WILLIAM BEECHEY

some extent by the following entry in Beechev's Note-
Book : " Mr. Young (the engraver) No. 28 Newman
Street, Oxford Street, London, bought the Gypsy of
Hudson."

The year 1787 was in several ways an important one
for Beechey. In the first place, he had apparently
either got tired of Norwich or had pretty nearly
exhausted it as a portrait-painting centre, and deter-
mined to remove to the Metropolis. The removal to
London was doubtless consonant to his own personal
wishes, but it appears to have been accelerated " by a
lady of rank and fashion who held out to him such
brilliant prospects of success and made him such
splendid promises of patronage, that he was induced to
rely so far upon them as to take a handsome house in
Hill Street, Berkeley Square, in the contemplation of
nothing short of immediate fame and fortune. The
event, however, was far from equalling his anticipations ;
the promises were wholly disregarded, and fortune, as
fickle as his patroness, soon left him to struggle with the
difficulties of an expensive establishment — without any-
thing like sufficient means to support it." (" Cabinet of
Modern Art.") The statements in this extract can
only be accurate in part, as Beechey did not take a
house in Hill Street until 1789 — or, at least, until
late in 1788 — when all doubts as to his success were
set at rest. In 1787 he resided temporarily at 10
Charles Street, Covent Garden, removing at midsummer
to 20 Lower Brook Street, Grosvenor Square, where he
was living in 1788. In the exhibition of 1787 he was

LADY BEECHEY

liij perinisxion qf' E. G. llajthael, RI<I.

27

represented by only one picture, a small whole length
portrait. The reason of this solitary exhibit is explained
by a statement which appeared in the Morning
Chronicle of May 28, and as this was nothing less than
a magnificent advertisement for the artist we do not
hesitate to quote the paragraph, headed "Fifteen
Portraits by Mr. Beechey," in full : " Why the Royal
Academy should have rejected these beautiful perfor-
mances we know not. But why they should have made
their best acknowledgments to Mr. Beechey for such
acquisitions is very obvious. Because we discover
nothing (in that line of painting) in their miserable
exhibition like them. We cannot help congratulating
Mr. Beechey that what might have been of material
injury and discouragement to him in his profession has
turned out to him the most fortunate event possible, as
we understand that in consequence of his exhibiting at
the Lyceum, he has actually several hundred pounds
worth of pictures bespoke." These rejected pictures, or
such of them as were not commissions, were sold by
private treaty by Vandergucht (whose house in Brook
Street, he had taken), and an advertisement to that
effect was inserted in the Morning Chronicle. The
pictures in question " were not admissible in the Royal
Academy, from their occupying too much space,"
according to the writer in " Public Characters.1' But
if Beechey himself was all but excluded from the 1787
Academy, the lady, Miss Jessup, who about this time
became his wife, was represented by five drawings
(Nos. 462, 584, 596, 658 and 662).

28 SIR WILLIAM BEECHEY

Much might be written concerning the early exhibi-
tions of the Academy in which Beechey took part. They
were opened on or about April 24, and were closed at
the latter part of May, thus remaining open for about
a month. In 1786 the doors were opened on May i.
The admission was one shilling, which entitled the
visitor to a catalogue. Up to and including 1779, they
were held in Pall Mall, and a view of the house, in
which also James Christie for many years held his
auctions, is given in Sandby's " History of the Royal
Academy"" (vol. i. p. 125). Quarrels, personal and
professional, were frequent among the members and
exhibitors, but Beechey appears to have uniformly taken
the wise part of holding aloof from these things. The
exhibition of 1780 was held at Somerset House, and the
increased accommodation was such that the receipts for
admission amounted to .£3069 is., an increase of ^1700
over the preceding year. This was the last year in which it
was necessary to grant the Academy pecuniary aid from
the Privy Purse, from which, between 1769 and 1780, a
sum of upwards of ^5000 was generously given. In 1781
there was a serious defection on the part of many who
had supported the annual exhibitions. Cipriani, Copley,
Dance, Pine, Humphry, Peters, Wilson, Loutherbourg,
Wheatley, Bartolozzi, and Miss Moser, were not repre-
sented, and, according to one of the newspapers of the
period, " not above 16 R.A.s have exhibited this year,
which is not one-half of that body."" The reason is not
given, but it is suggested that "perhaps they may
think their reputation sufficiently established : one of our

29

great portrait painters (Romney) never exhibits at all
on that presumption."

Beechey's great friend among the Royal Academicians
was Paul Sandby, one of the Foundation Members.
Sandby imparted to him "advice in all matters relative
to his profession, and encouraged and protected him in
and out of the Academy, watching his interest on every
occasion with the affectionate zeal of a parent ; indeed,
Sir William so considers him, and hardly ever mentions
him, either in public or private company, but by the
name of his ' father Sandby ' ! " Beechey's portrait of
Paul Sandby, exhibited at the Royal Academy of 1789,
No. 241, was engraved by S. W. Reynolds in 1794.

It was, as we have seen, at Norwich that he began " to
paint as large as life." " Among the lest " (according to
the Monthly Mirror) " a portrait of the beautiful Miss
Ives (now Mrs. Bosanquet) added considerably to his
reputation and produced some complimentary verses of
no ordinary merit in the Norwich newspaper." This may
have been the " portrait of a lady, half-length," exhibited
in 1786, No. 200 ; the Miss Ives was Charlotte Elizabeth,
who married in 1787 William Bosanquet, the London
banker. Beechey's portraits of her father (a member of
an eminent Norwich family) and mother were in the
Royal Academy of 1788.

CHAPTER II

1788-1797

ALTHOUGH Beechey had been at least "numerously1"
represented in the Academy exhibitions of 1785 and
1786 — he had nine pictures in each — it was not until
the exhibition of 1788 that he was adequately repre-
sented by portraits of which the identity excited the
curiosity of the public. It may be mentioned that up
to and including 1797 portraits were nearly always
anonymous, that is to say, they appeared in the cata-
logue as portraits of A Lady, A Lady of Title, A
Gentleman, A Nobleman, An Artist, or some such
designation. Until this exceedingly foolish species
of nomenclature was discarded, some of the news-
papers made a special feature of publishing, on the
opening of the Academy, a list of the portraits
with the Academy Catalogue numbers and the
names. It is only by this means that the identity
of many of the portraits hung at the first twenty-
eight Academies can be ascertained. The compilers
of these lists would probably not have troubled them-
selves to asceitain the identities of portraits by an
unknown artist. Of the six portraits (besides three
fancy subjects) which Beechey sent to the 1788 Academy,

LADY BKHXAKL)

riiin the oriyinat picture

1788-179? 31

the identities of five have been recovered. Besides the
portraits of Mr. Jeremy Ives, of Norwich, and his wife,
(respectively numbers 215 and 188) already mentioned,
we have Captain Boyce* as " an officer in an outpost
in America " (185), a Mr. Robinson (416), an "an
artist," who proves to be Dominic Serres the marine
painter (1722-1793), one of the original members
of the Royal Academy, of which he was Librarian in
1792.

The most interesting of the fancy subjects was, in
one respect at least. Number 242, Iris, by command of
Juno, requests Somnus the God of Sleep to send a Dream
to Alcyone, based on a passage in Dryden's " Fables."
This picture is said to have been the first work painted
by the artist on his arrival in London. The catalogue
of the Beechey sale at Christie's, June 1 1, 1836, describes
it as " a charming composition, full of poetical feeling."
It was bought in at that sale for fourteen guineas.
Lavinia returning from Gleaning (No. 54) and Donna
Mencia recovering from a swoon discovers the horror of
her Situation, based on well-known passages in Thom-

* This portrait remained in possession of the family until March 14,
1891, when it was sold at Christie's for a very small sum. On the
same occasion a portrait of Master H. Boyce, a son of Captain
(afterwards Lieuteuant-Colonel) William Boyce, was purchased by
Messrs. Agnew, and is now in the collection formed by the late Sir
Charles Tennant, who also owns the portrait of Captain Boyce, who,
it may be added was appointed to a Captaincy in the Sixteenth or
the Queen's Regiment of Light Dragoons. September 28, 1781.
The portrait of Master Boyce has been recently engraved, and is
illustrated in the privately printed Catalogue of Sir Charles
Tennant's pictures.

32 SIR WILLIAM BEECHEY

son's " Seasons " and " Gil Bias " respectively were the
other two fancy pictures of the year.

Beechey's first really great and successful Academy
was that of 1789, to which he contributed seven
portraits, two of which were of ladies whose names have
not come down to us. " The first picture of the size
of life that brought Mr. Beechey into notice was a
portrait of Charles Herbert, Brother of Lord Carnar-
von " ("Cabinet of Modern Art,"" p. 100), and this
figured as No. 141, Portrait of a Gentleman in the
Academy under notice. He was introduced to Herbert
by his friend Sandby, the " portrait of Herbert was
greatly admired by the fashionable world, and procured
him a sitting from the last Duke of Montagu, a noble-
man who honoured our artist with singular marks of
kindness and attention " (Monthly Mirror). Beechey's
Account-Book for the year 1789, is, as will be seen
further on, the earliest which has been so far dis-
covered ; but a mere glance over the list there set
forth will show an amazing disproportion between it and
the number of exhibited pictures. In this year he
painted forty-nine pictures as against the seven which
were sent to the Academy, and during the two following
years he painted ninety-six portraits of which only
twenty-five appeared at the Academy. Nearly the same
proportion would probably have been maintained
during the ensuing seasons.

The friendship with Herbert was both lasting and
profitable. As will be seen from the entries in the
chapter dealing with Beechey's sitters and their pay-

1788-179? 33

ments, the artist painted nine portraits of members of
the Herbert family in 1789-90. In addition to the
portrait of Charles Herbert already mentioned, Beechey
painted another in 1799. He likewise did one of the
Rev. Caroline Robert Herbert (so-called after Queen
Caroline), brother of his patron, in 1791, and another
of his sister Georgina in 1793. These three portraits
remained in the collection of the late Sir Robert
G. W. Herbert, G.C.B., of Ickleton, until July
1905, and were all on canvas 30 x 25. We have
only seen one of the three portraits, viz., that of
Georgina Herbert, a work of admirable quality,
showing her at the age of forty-six, a half-figure,
directed to right, head slightly turned and looking at
spectator nearly full face, fresh complexion, hazel
eyes, powdered hair, draped in black cloak, white fichu,
large black hat with lace " curtain " trimmings, and
wearing brown muff. This charming work is now in
the collection of the Rev. Thomas Crawford, B.D., of
Bolnacraig, Perth, and is reproduced in here by his
permission. Another version of this picture, inscribed
" Georgiana Herbert, ann. aet. suae 46," and dated
1793, belongs to the Earl of Ducie and is at Tort-
worth Court.

Beechey had now removed to Hill Street, Berkeley
Square, and his commissions were rapidly increasing in
number. His exhibits this year (1789) included those of
two artists — both probably done con amore — Paul
Sandby already mentioned, and Richard Cooper, Douglas,
Bishop of Carlisle, and a "Naval Officer.1" Richard

34 SIR WILLIAM BEECHEY

Cooper who was said to have been born about 1740 and
who died about 1814 was the son and namesake of an
artist who settled in Edinburgh ; the younger Cooper
was a painter and engraver, and studied in Paris under
J. P. Le Bas ; he exhibited at the Royal Academy from
1778 to 1809, was drawing master at Eton and a friend
of Beechey's. He spent some time at Penzance with
Cuthbert Baines (great-grandfather of the present
owners of the three Cooper portraits). Richard Cooper
was probably born in Edinburgh, and until 1888 his
descendants possessed some houses off the Canongate,
" Cooper's Entry,*" which had belonged to Cooper's
father or grandfather. That of Mr. Coopers Son
(exhibited at the Academy 1792), Ramsay Cooper,
now belongs to Mr. J. A. Baines, of Kidlington, Oxon,
and is a whole-length of a boy in a picturesque walking-
dress ; Beechey is reported to have said later in life
that this portrait was the best he had done. One of
these two works was painted at Eltham or Shooter's
Hill, where the Coopers lived for a time. Mr. Baines"
second portrait is of Margaret Cooper, wife of Richard.
The portrait of Richard Cooper now belongs to
Mr. Barnes's sister. The Mr. and Mrs. Cooper
mentioned in the extract on p. 21 from Beechey 's
Account-Book may have been Richard Cooper and his
wife.

In 1790 Beechey 's works began to attract the notice
of the newspaper critics, and one of them went so far
as to admit that " Mr. Beechey has some very fine
portraits (in the Academy) in which his exquisite taste

PSYCHE (LADY THOMAS BEKXAKD)

KIJ permisMun of W. Younger, Estj.

1788-179? 35

for colouring is finely displayed." This year's exhibi-
tion was marked as some of the others had been, by
quarrels among the members, and its opening was
delayed a week in consequence. Later on in the year
fresh dissension broke out, and Sir Joshua Reynolds
" irrevocably determined to resign."" In spite of the
support of the King, who " particularly " desired that
young Lawrence " should be elected," the result of the
voting was : Wheatley sixteen votes, Lawrence three.
This was not the first time that a candidate backed by
Sir Joshua had been rejected, and the amiable autocrat
of the Academy was naturally very indignant. The
election was peculiarly obnoxious to Reynolds for
Wheatley 's "moral conduct had offended decency.""
The rejection of the favourite of the King and the
President would doubtless have blown over, in the
usual course of things, but such a splendid opportunity
for the exercise of his caustic wit was too good to be
lost by Peter Pindar (John Wolcott), and he trans-
formed a parochial event into a national affair.
Nothing gave this satirist greater pleasure than to
pour ridicule on officialism, and his vigorous satires
enjoyed an enormous vogue. There was nothing
delicate or refined about his references : he preferred
the bludgeon to the rapier, and the incident under
notice brought forth from him a series of cleverly-
turned verses under the title of " The Right of Kings,
or Loyal Odes to Disloyal Academicians," from which
we cannot resist quoting two :

36 SIR WILLIAM BEECHEY

Yet opposition-fraught to royal wishes,

Quite counter to a gracious king's commands,

Behold ! th' Academicians, those strange fishes,
For Wheatley lifted their unhallow'd hands.

So then, those fellows have not learnt to crawl,
To play the spaniel, lick the foot, and fawn —

Oh, be their bones by tigers broken all !

Pleas'd, by wild horses could I see them drawn.

Wheatley was elected R.A. on February 10, 1791,
and on November 10 of the same year Lawrence was
elected an Associate, " at an earlier age than any artist
before or since." (D. E. Williams, " The Life of Sir
Thomas Lawrence," 1831, vol. i. p. 115.)

We have dwelt at some considerable length on this
episode, because Lawrence^s appearance in the arena is
important in connection with the career of Beechey.
Although as yet Lawrence was too young to be a
serious rival to Beechey, there can be no question that
the latter's career was after a time largely eclipsed by
the younger man. For many years Lawrence as a
portrait painter largely overshadowed all his rivals, far
more so indeed than had Reynolds. Lawrence first
began to exhibit at the Academy in 1787, when he had
seven works hung; in 1788 he had six, in 1789 he had
thirteen, of which one was a portrait of the Duke of
York, and in 1790 his position as a portrait painter was
confirmed officially by portraits of the Queen and
Princess Amelia, by the beautiful portrait, now the
property of Mr. J. Pierpont Morgan, of the actress

1788-179? 37

Miss Farren (Countess of Derby), so well-known through
engraving, and by nine others, groups and single
portraits. Beechey also had never been more strongly
represented than at the 1790 Academy, for his nine
pictures included portraits of Lord Haddo (not
" Harris " as appears in Mr. Graves's " Royal Academy
Exhibitors "), the Earl of Aberdeen's eldest son George,
he was born in January 1764 and died in October 1791
during the lifetime of his father ; Lord Macartney the
distinguished diplomatist and colonial governor created
Baron Macartney in 1776 (1737-1806) ; Lord Morton
(George i7th Earl), in the dress of the Scottish Society
of Archers (it was through Lord Morton's influence
that Beechey was subsequently appointed Portrait
Painter to the Queen) ; the Duke of Montagu ; Lord
Stopford (eldest son of the 2nd Earl of Courtown),
and Lord Dalkeith (eldest son of the 3rd Duke of
Buccleuch and afterwards 4th Duke), in addition to
a portrait of a young nobleman whose identity has not
been ascertained ; he also exhibited a portrait of him-
self, doubtless that which was subsequently engraved
for the Monthly Mirror. The Academy of 1790 has
another interest inasmuch as it was the last at which
Sir Joshua Reynolds exhibited, his works including his
own portrait, a whole length of Mrs. Billington as St.
Cecilia, and portraits of Lord Cholmondeley, Lord
Rawdon, and Sir John Leicester : the first is described
by Walpole as "very good," and the last as "very
bad.11 Reynolds died on February 23, 1792, and was
only unrepresented during his lifetime at one of the

38 SIR WILLIAM BEECHEY

twenty-three exhibitions held since the first one in 1769.
Eighteen of the original members of the Royal
Academy had preceded the President to the grave, and
twenty-five new members had been elected during his
term of office.

Concurrently with the opening of this year's Academy
there was published (May i, 1790), one of the earliest
renderings of a picture by Beechey in mezzotint. This
had been exhibited at Liverpool in 1787, No. 3, with the
title of Rosalie and Lubin ; the engraver was Thomas
Park, and the size of the engraving 20 in. by 23$ in.
The picture is of an extensive landscape with trees and
sheep, in the foreground a river with the drowning
figure of Lubin, and on the banks is the terror-
stricken figure of Rosalie, who is bending forward on
the blink of the river; to it were appended the
following lines :

When as at eve beside a brook,

Where stray 'd their flocks, they sat and smil'd,
One luckless lamb the current took,

'Twas Rosalie's, she started wild,
" Run Lubin, run my fav'rite save,"

Too fatally the youth obeyed,
He ran, he plung'd into the wave

To give the little wand'rer aid.
But scarce he guides him to the shore,

When faint and sunk poor Lubin dies.

In point of numbers, Beechey was well in evidence in
the 1791 exhibition — he had nine pictures hung as
against eleven by Lawrence. Several were of titled

1788-179? 39

people, although the name of only one has been
recovered, No. 269, Lord Frederick Montagu ; another
was a portrait of Robert Wilmot, Esq., and a third was
a canvas containing portraits of Mr. Oddie's * family.
These are the only three which have been identified.
There were also portraits of A Lady of Quality, of
A Noblemaifs Family with a Dog- (referred to on p. 15)
and A Gentlemaris Family with a Dog. To the
Academy of the succeeding year (1792) when the
exhibits had increased from 703 of the previous season
to 780, Beechey sent nine portraits, two of which
represented Lord and Lady Herbert, whilst the others
were of Mr. Meux, doubtless the brewer. Captain
Montgomery, Mr. Cooper's son (Ramsay Cooper, already
referred to on p. 34), Mr. Greenwood, and Thomas
Sandby, the architect and clever draughtsman, brother

* There has hitherto been some doubt about the correctness of the
name of this family. " Addie " is that found in contemporary
records. But an entry in Beechey 's Account Book under date 1789,
" Mr. Oddie's family £84," dispenses with any further doubt in the
matter. The sitters were the children of Henry Hoyle Oddie, a
solicitor, of Carey Street, London, and Barnwell Castle, Northamp-
tonshire (where he died in 1830, eighty-seven years of age). A
miniature of him by J. D. Engleheart, was exhibited at the Royal
Academy, 1821 (No. 685). The Beechey group was engraved in
mezzotint by Thomas Park ; it must have been a very charming
one, judging from the engraving, and is thus described by Chaloner
Smith : " Whole lengths, towards left a young lad standing, directed
towards right, drawing back arrow and string of bow, hat and two
arrows lying on the ground before him, to left a little girl holding
his coat, and looking in the direction in which the arrow is about to
fly ; a younger girl lying on ground behind him, looking to front ;
towards right an older girl, standing, directed and looking to right,
landscape in distance." We have failed to trace the original.

40 SIR WILLIAM BEECHEY

of the more famous Paul Sandby . The portrait of Thomas
Sandby was thus described in a newspaper criticism
(Mr. Humphry Ward's "Collection of Cuttings ")
of the time : "The best in the room, in our minds, for
the true simplicity of the art, the sober and unaffected
style which attracts and satisfies more than the tinselled
glittering of the French School, is the portrait of Mr.
Sandby.'1 The same critic further remarks of this year's
exhibition : " Mr. Beechey and Mr. Hoppner have the
evident superiority in portraits. Mr. Lawrence has
just rescued himself from the attack upon majesty, by
an exquisite portrait of a lady " (probably that of Mrs.
Charles Locke).

Beechey had only four portraits in the succeeding
Academy (1793), which was the first held under the
presidency of Benjamin West. Lawrence, who was now
an Associate, had nine, including one of H.R.H. the
Duke of Clarence. The identities of three of Beechey's
works have been obtained : These were a group of " Sir
J. Ford's " children, catalogued as Portraits of Children
Relieving a Beggar Boy, this picture was engraved in
stipple (18 in. by 15 in.) by C. Wilkin, with the legend :
" * Here Poor Boy without a Hat, take this Ha'penny,'
it was published by W. Beechey, No. 8 George Street,
Hanover Square," and " dedicated by permission to Her
Majesty the Queen," by the artist. It is a composition
of three whole-length figures in a landscape and under
a tree, on right little boy in dark dress and hat with
feathers, and little girl in white with white hat, the
latter holds out a coin in her right hand to beggar-lad

SIR PETER FRANCIS BOURGEOIS, R.A.
Dulirich Gallery

1788-179? 41

on left, he is in tatters, shoeless and stockingless, and
hatless, holding stick under right arm, and a toy dog in
the foreground. It was praised by all the critics, one
of whom however pointed out that : " Beechey 's picture
of the Beggar Boy, to justify the shivering and starved
appearance, should have had the scene Winter not
Summer. Many of the parts, however, are fine ; and he
is much improved of late." The name " Sir J. Forde,"
given in the newspapers of the time as the father of the
children, is clearly an error for Sir Francis Ford, the
first baronet (he was so created February 22, 1793) and
M. P., the boy in the picture was doubtless his eldest son
(born in February 1787) afterwards second baronet.

The other portraits respectively represented Colonel
Barry and Mrs. Burch. The former, according to the
Army List of this year, must have been Lieut.-Col.
Henry Barry, of the 39th (or the East Middlesex)
Regiment of Foot, to which he was appointed May 28,
1790; and the latter was probably the wife of I. R.
Burch, of 9 Chesterfield Street, London.

It was probably this year in which Beechey experi-
enced a rebuff on the part of the Hanging Committee
referred to by George Dawe in his " Life of George
Morland " (1804) : " The portrait of a nobleman painted
by him (Beechey), being returned by the Hanging
Committee of the Royal Academy, so incensed the
peer, that he had the picture sent on to Buckingham
Palace to be inspected by the King and the Royal
Family, who all, in consequence, became sitters to the
painter. This was the commencement of his fortunes "

42 SIR WILLIAM BEECHEY

(quoted by Redgrave, " A Century of Painters,"" vol. i.
p. 338). Further, Dawes goes so far as to say :
" Beechey may justly be considered the only original
painter we have, all the rest being more or less the
imitators of Sir Joshua." Beechey's growing reputation
was at length recognised by the Academy authorities,
and in 1793 he was elected an Associate. According to
the writer of the obituary notice in the Gentlemaii's
Magazine (April 1839, P* 433) "in the s*1116 year
(1793) he painted a whole length portrait of Queen
Charlotte, who honoured him by the appointment of
Her Majesty's Portrait Painter/1 This portrait was
not exhibited until 1797, and, "notwithstanding its
disfigurement by the frightful costume of the time (a
disadvantage which has marred the beauty of some of
Sir W. Beechey's pictures) is a remarkably fine work of
art " (" Cabinet of Modern Art," p. 100). This portrait
was apparently done as a " speculation,"" as it does not
appear to be in the Royal collection, and was not
exhibited at the Guelph Exhibition in 1891, when the
late Queen lent a number of Beechey's portraits of
Queen Charlotte's children, which had also appeared at
the Academy of 1797. The portrait indeed would
seem to have lain on Beechey's hands, for at his sale at
Christie's rooms on June n, 1836, when it was described
as " the original engraved picture," it was bought in at
60 guineas and at the Beechey sale at Rainy's, on
July 19, 1839, the same portrait was "passed."" The
background of the portrait was formed by a view of the
gardens at Frogmore. The portrait of the Queen which

1788-179? 43

we are permitted to reproduce here is probably a
version of the picture in question. The bust of this
portrait of the Queen was frequently engraved : by
Bartolozzi in 1799, with elaborate decorations as
" Patroness of Botany and the Fine Arts," by M. A.
Bourlier in 1806 and for Cadell's " British Gallery of
Contemporary Portraits," 1809. It must have been a
good portrait, for it met with the approval of Anthony
Pasquin (John Williams) one of the most caustic art
critics of the day, and an enemy of mankind generally.
In his " Critical Guide to the Present Exhibition at the
Royal Academy for 1797," Pasquin says: "This is a
very forcible likeness of the Queen, and very reputable
to ita author ; the figure is well drawn, and the colour-
ing is like the object it represents, calm, harmonious
and correct. The pretensions of Mr. Beechey to hold
a high rank in this department of his profession, are so
legal and uncontradicted, that we should be amazed at
his not being an R. A., if we were less acquainted with
Hie cabals and meannesses and personal pique which
distract and disgrace the measures of this regal institu-
tion " (p. 10).

At the opening of the 1794 Academy Beechey ranked
not only as an Associate, but as the Portrait Painter to
Her Majesty. Lawrence was " R.A. elect " and
Principal Painter in Ordinary to Her Majesty.
Hoppner was an A. R.A. and Portrait Painter to
the Prince of Wales. Into the comparative merits of
these three men we do not propose to enter, but between
them they very largely monopolised the fashionable

44 SIR WILLIAM BEECHEY

portrait painting of the day. Reynolds and Gains-
borough were gone ; Romney was in failing health, and
no longer able to work with the incessant application of
a few years previously. Opie, it is true, was in the full
enjoyment of his powers ; Martin A. Shee was making
considerable headway as a portrait painter ; but beyond
these the exponents of portrait painting were very
second-rate indeed. Pasquin went so far as to say, in
his notice of the 1794 Academy, that " we have but
three decided portrait painters in the kingdom, which are:
Romney, Shee and Beechey ; the rest are diseased with
all Sir Joshua Reynolds's worst habits." In point of
number, Beechey was well represented in the 1794
Academy;* he had eight portraits and one fancy
picture. The portraits were Lady Arden (i.e., Margaret,
eldest daughter of Sir Thomas Spencer Wilson, who
married in 1787 Charles George Baron Arden, and died
May 20, 1851 ; her second son became sixth Earl of
Egmont in 1841), Lord Tracy (who died in 1797, when
the title became extinct) ; Dr. Symonds; Mr. Wallis; the
Bishop of Norwich (Dr. Charles Manners-Sutton, 1755-
1828, brother of the first Baron Manners, afterwards, in
1805, Archbishop of Canterbury, the active Church
revivalist) ; Dr. Strachey, who has already been
mentioned (John Strachey, 1738-1818, Archdeacon of
Suffolk, and Chaplain in Ordinary to George III., his
elder brother, Henry, was created a Baronet in 1801) ;

* Owing largely to the war with France, and the unsettled state
of affairs generally, this year's exhibition contained only 670 numbers
against 856 of the previous year.

1788-1797 45

and portraits of two gentlemen whose names have not
come down to us.

The fancy picture represented Mrs. Siddons with the
Emblems of Tragedy, in which Beechey would appear to
have at once challenged Sir Joshua's famous masterpiece.
The inevitable comparison was unfortunate for Beechey,
assuming that it was ever in his mind to challenge Sir
Joshua's supremacy. " Mr. Beechey, the artist, has
finished a portrait of Mrs. Siddons in the character of
Lady Macbeth in the dagger scene : Mr. Kemble is intro-
duced in the same picture in the portrait of Macbeth."
From a newspaper cutting in Messrs. Colnaghi's
possession, we gather that Beechey's Mrs. Siddons
was a failure ; even his greatest advocate, Pasquin,
condemned it : " The figure " (he says) "is not accu-
rately designed, and the attitude is affectedly disgusting.
It conveys the semblance of a gypsy in sattin, disporting
at a masquerade, rather than the murder-loving Melpo-
mene. As a portrait the figure is too thin for the
original, and as a picture it is too imperfect to be valuable
to a connoiseur." The same candid critic goes on to
say : " Mr. Beechey has this year most unaccountably
fallen off from himself. His pictures are neither so
rich, so graceful, or so true as they were the last year.
He has suffered Mr. Hoppner to supersede him, which is
a sufference that took place while his genius was tipsy
and his enemies vigilant." The picture of Mrs. Siddons
was distinctly *' damned," and it remained in the artist's
possession. At his sale at Christie's on June n, 1836,
it was bought in at sixty guineas, and at the sale at

46 SIR WILLIAM BEECHEY

Rainy's, after his death, July 19, 1839, ^ was " passed."1
The portrait of Mrs. Siddons, it may be mentioned,
was a whole length, and " although admirably painted "
(says the writer of the biography of Beechey in the
"Cabinet of Modern Art"), "the style of the head-
dress and the hideous costume of the time deprive it of
much of its value as a picture." There is, however,
another Beechey portrait of the great actress now in the
National Portrait Gallery (canvas, 29^ in. by 24^ in.), to
which it was presented by Delane, the editor of The
Times, in 1858 ; it was at one time the property of her
nephew, Horace Twiss, and is said to have been
" painted about 1798." It may, however, be the
finished study for the whole-length portrait exhibited in
1794.

The " Dr. Symons " should read " Symmons," the
personage being Charles Symmons (1749-1826), a well-
known man of letters, the biographer of Milton and
Shakespeare, the translator of the ^Eneid ; a minor
poet and a strong Whig in politics ; he was rector of
Narberth and Lampeter. The portrait, which Pasquin
pronounced " fair, clear and unsophisticated," was
described in one of the papers of the day as of " a
clergyman in his academical dress,'" and was engraved as
a private plate by Grave. Symmons married in 1779
Elizabeth, daughter of John Foley and sister of Sir J.
Foley ; the Foleys of whom Beechey exhibited portraits
in 1795 and 1800 were doubtless of the same family.
The ** Mrs. Symonds and Family " of 1 803 may have been
the wife and children of the above Charles Symmons. In

MASTER HOYCE

By permission of Messrs. Tho?, Ayntu- and Sons

1788-179? 47

1794 Beechey removed from Hill Street to No. 8 George
Street, Hanover Square, where he continued to reside
until 1836, and in the occupation of which he was
followed by Thomas Phillips, R.A.

Beechey had eleven pictures in the Academy of 1795,
of which ten were portraits; all with one exception
have been identified. One of the best of these was a
portrait of Miss de Vismes (No. 70) in a straw hat, and
described as " remarkable for ease and elegance.11 This
lady may have been a daughter of Gerard de Vismes, of
Grosvenor Square, whose country residence was Wimble-
don Lodge, " a new and elegant house," which he built,
having for neighbours the Right Hon. Henry Dundas,
John Home Tooke, and other celebrities. There was
also a portrait of Mrs. Meux, Jr., without doubt Eliza,
daughter of Henry Roxby, of Clapham Rise, who
married, June 28, 1792, Richard Meux, elder brother of
Henry Meux, first baronet, and probably sister of the
Miss Roxby of the 1796 Academy. No. 45, Portrait of
a Gentleman, was Thomas Le Mesurier, who matricu-
lated at New College, Oxford, in June 1774, M.A. 1782?
B.D. 1813, and became rector of Newton Longueville,
Bucks, and of Haughton-le-Skerne, 1812, where he
remained until his death in July 1822. This portrait, of
which a private plate was engraved in stipple by Edward
Finden, shows him to three-quarter length, seated in an
arm-chair, looking slightly to right, in dark coat and
vest, with ample white neckerchief tied into a bow,
index finger of left hand in a partly opened volume.
The portrait is the property of his great grandson, Mr. A.

48 SIR WILLIAM BEECHEY

S. Le Mesurier. No. 1 10, Portrait of an Admiral, re-
presented Admiral Sir Thomas Pasley, 1734-1808, and
the mezzotint engraving by Charles Townley, published
in September 1795, shows this officer to three-quarter
length, standing, directed to left, in uniform, right hand
on flag on block to left, left hand resting on hip beside
hilt of sword.

The others included Mr. Foley (probably the Hon.
Andrew Foley, M.P.), son of the first Baron Foley (who
was residing at this time at 52 Park Street, Grosvenor
Square, and died on July 28, 1818) ; of Miss Watson ; of
Lady Caroline Campbell, of Major-General Alured Clarke,
the distinguished officer who became Field Marshal in
1830, and died in 1832, and of Mr. Hodges, who was
probably William Hodges the artist.

Beechey also had eleven exhibits in the Academy of
1796 (which comprised 885 numbers as against 735 of
the previous season), every one of which has been
identified : they were Miss Roxby ; Sir Phillip Stephens
(1725-1809), the Secretary of the Admiralty, a F.R.S.
and M.P. for Sandwich 1768-1806 (perhaps the " Mr.
Stephens, Admiralty," whose name appears in the 1789
list of Beechey pictures, and who was created a baronet
in 1795) ; Miss Hadfield * (this picture is undoubtedly
identical with the very fine whole-length portrait known
as Mrs. Hatfield, the property of Lord Burton) ; Lady
Young ; a lady from the East Indies, Mrs. Johnson ;

* This lady was probably Amelia Caroline, daughter of General
White, and wife of Joseph Hadfield, Esq., of Broad Street, London,
a merchant to whom she was married at Low Layton, Essex, on
June 16, 1795.

1788-1797 49

Lady Rous (nee Charlotte Maria Whittaker), second
wife of Sir John Rous, sixth baronet, created Baron
Rous on May 28, 1796, and Earl of Stradbroke
in July 1821; two officers, probably father and
son, Captain Earle and Captain W. Earle — that of
the latter may be identical with the portrait of William
Earle, eldest son of Giles Earle, Esq. (the property of
the Hon. Payan Dawnay, of Beninborough Hall, Yorks),
which was sold for a small sum at Christie's on Decem-
ber 3, 1892 ; a Mr. Makepeace (possibly John Make-
peace, Esq., of 4 Gray's Inn Square) ; Beechey's old
friend and fellow student at the Royal Academy Schools,
John Banister, Jr., who gave up art for the stage ; and
a portrait of Mr. Meux, possibly the son of the Mr.
Meux whose portrait was in the Academy of 1792 — i.e.,
Henry Meux, who was created a baronet in 1831. The
picture of Lady Young, wife of Sir William Young, is
described by Anthony Pasquin as "an admirable full-
length, and is one of the best pictures in the exhibition/1
That of " The Younger Banister " is admitted by the
same authority to be a " delicate impressive likeness,"
whatever that may mean, and " is the best male portrait,
in oils, in the present exhibition : why the hangmen have
placed it in the ante-room we cannot devise, unless it
arose from an aristocratic unwillingness to permit the
subject to associate with what is termed the best com-
pany.1" In some general remarks on the exhibition the
same writer says : " In this exhibition we have three
Portrait Painters who deserve particular notice, but not
in the same degree : the Academy has not now a

50 SIR WILLIAM BEECHEY

Reynolds, whose genius in this branch of the art
towered far above any thing now in existence: but if
the Portrait Painters of the present day be brought
before the tribunal of fair criticism, and tried by the
evidence before it — viz., their works exhibited in the
collection at Somerset House — the pre-eminence cannot
be denied to BEECHEY : LAWRENCE follows him ;
and then, magiio intervallo, HOPPNER and HAMIL-
TON v ; and, further, that " nothing but the grossest
partially can dispute this fact."

In dealing generally with the exhibits of Beechey,
Lawrence and Hoppner, a writer in the Monthly Mirror
of May 1796 observes : "Beechey has fewer eccentri-
cities than his competitors — for he never distorts his
figures for the sake of extravagant attitude — he is less
fantastic in his design and less exuberant in manner, in
short, he has more nature than the other two. . . .
Beechey, who is more fixed and determinate, both in
his colouring and outline, studies only to be chaste.
Nothing will better ascertain this than a comparison of
his portraits of Sir Phillip Stephens and Lady Young
with Hoppners Duke of Bedford and Lady Charlotte
Campbell and Lawrence's Duke of Leeds and Miss
Ogilvie."

Although Pasquin's verdict has not been wholly
ratified by posterity, it probably reflected the general
opinion of the critics at the time it was written. We
get, also from Anthony Pasquin, one of those little
side-lights on the artistic temperament which shows
that human nature was pretty much the same a century

1788-1797 5i

or more ago as it is to-day. Before the final arrange-
ment of the exhibits, we are told that Mr. Hoppner
and Mr. Westall, who were nominated as the hangmen
of the year, discovered that there were too many
pictures : " The former wrote a card to Mr. Beechey
informing him that if he would withdraw one of his
whole-length portraits, he would withdraw one likewise :
extraordinary as it may seem, there was no answer
returned to this epistle ; but the measure took place,
and Mr. Beechey was so highly incensed at the presump-
tion of Mr. Hoppner, that he sent angrily to have all
his pictures returned, but sent in vain. We have only
to remark that Mr. Beechey was very much in the
wrong to attach any idea of presumption to a gentleman
so proverbial for modesty and good sense as Mr.
Hoppner ; and we trust, he feels abashed at such a
misappropriation of epithet." (a A Critical Guide to the
Exhibition of the Royal Academy," pp. 5-6.)

Pasquin's above-quoted verdict probably held good
at the Academy of 1797, when Beechey had six
portraits of royal personages hung, in addition to
three others. It was the year of Lawrence's unfortunate
Satan calling his Legions, a subject which he might
quite well have left in the hands of Fuseli, in whose
particular preserves the young artist would seem to be
poaching. Lawrence's Satan, upon which he had
expended an enormous amount of time and energy, was
generally condemned ; it is now the property of the
Royal Academy, having been purchased at the artist's
sale on June 18, 1831, for 480 guineas ; and the general

52 SIR WILLIAM BEECHEY

opinion upon it passed in 1797 will be generally ratified
by any one who cares to examine the picture
to-day. In addition to the Satan Lawrence had six
portraits in this Academy, one of which was of Mrs.
Siddons, against Beechey 's nine. The portrait of
Queen Charlotte, painted some years previously, has
already been referred to ; the Princesses were Amelia
(73), Elizabeth Augusta (80), Mary (106), and
Elizabeth (107), and the Prince of Wales (91), so that
the artist had made ample use of his opportunities
as a royal portrait-painter. The general opinion con-
cerning the royal portraits was highly flattering to
Beechey ; in his notice of Princess Elizabeth, the irre-
pressible Pasquin describes it as " one of several vivid
likenesses of the Princess ; the colouring is rather too
tender, yet there is a fascination in it altogether which
repays us richly for our attention, but this attribute is
more congenial to the subject than the painter; this
amiable lady seems to have all that bland dignity of
mind which characterises her brother the prince, she
governs our hearts by complacency, and ensnares our
good will by her condescension.

' Her liquid eyes ten thousand charms dispense,
Breathing at once both love and Innocence.' "

There seems to have been the usual blundering in
compiling the official catalogue — " the misnomers and
misnumbering in the catalogue are pertinent and
whimsical." According to the Gentlemarfs Magazine *

* From the same source (April 1839, p. 433), we learn that
Beechey was " employed to paint whole-length portraits of all the

JOHN BOYDELL, LORD MAYOR OF LONDON
National Portrait Gallery

1788-1797 53

this series of portraits was painted for the Prince of
Wales. The compiler of the Guelph catalogue, how-
ever, states that these portraits were " executed
by the painter during his residence at Court, in the
capacity of instructor to the princesses, who, with the
King and Queen, entertained for him the strongest
regard"" up to the last (p. 17). This is more likely to
be the correct version, for, if the Prince of Wales
desired such a series, the strong probability is that he
would have commissioned his own official portrait
painter, John Hoppner.

These portraits are all three-quarter length in size,
on canvas 35 in. by 27^ in., and nearly all were lent to
the Guelph Exhibition, New Gallery, 1891, by Her
Majesty Queen Victoria, from Buckingham Palace-
The series as exhibited comprised the Princesses
Charlotte, Amelia, Sophia, Elizabeth, Augusta and
Mary, so that, apparently, those of Princesses
Charlotte (afterwards Queen of Wurtemburg), and
Sophia were not sent to the Academy, and possibly the
portrait of the Prince of Wales is no longer at Bucking-
ham Palace, in which case it would have been given
away by the Prince after his accession to the throne.
" Mr. Beechey's portraits of the Royal Family are
fine,11 says one of the critics ; " that of Her Majesty is
the most pleasing resemblance we have seen ; had it
been painted for an exhibition room it would have had

Royal Family for the Gothic Palace erecting at Kew. There is also
an apartment in Frogmore Palace which is decorated entirely with
portraits by the same artist."

54 SIR WILLIAM BEECHEY

more force. The portrait of the Princess Amelia
(erroneously catalogued Princess Mary) is in very
elegant taste, well drawn and exquisitely coloured.1"

The portraits of the Queen and her children enjoyed
great popularity not only at the Academy, but as
engravings. Nearly all of them were reproduced in
La Belle AssembUe — the fashionable and widely-
circulated lady's magazine of the day — during 1806,
and were also printed in colours and published in a
volume by E. Harding under the title of " Portraits of
the whole of the Royal Family," 1806, whilst some of
them were copied on enamel by Henry Bone. These
engravings would have served as a splendid advertise-
ment of Beechey's talents as a portrait painter, and the
inevitable result would have been a large number of
commissions. There can be no doubt that the artist
painted many replicas of these royal portraits. It was
fitting that the portrait of Lord Cardigan, to whom it
is stated Beechey owed his introduction to George III.,
should appear in the same exhibition, and it figures in
the catalogue as No. 150, Portrait of a Nobleman,
No. 165, was a Portrait of a Celebrated Actress, who
has been identified as Miss Leake, the famous Drury
Lane singer, a native of Norfolk, and a pupil of
Dr. Arnold, the celebrated composer ; this portrait was
engraved by Ridley for the Monthly Mirror of January
1799, and represents her standing near a pillar, smiling
and holding a mask, with flowers in her hair. The portrait
of Master Hatch as Marshall's attendant at the Montem
concluded Beechey 's exhibits at the Academy of 1797.

Every portrait painter has suffered serious financial

1788-1797 55

and probably artistic loss through the fickleness of
sitters, some of whom keep the first few appointments
to sit, while others have sufficient energy to see the
portrait finished, but not enough to pay for and take
the picture home. Romney had several scores of sitters
of both types. Beechey had them also, and the follow-
ing interesting letter shows that at least one of these
dilatory sitters had the thoughtfulness to make good
his remissness. The letter, written from Colchester on
January 3, 1805, refers to a portrait begun in 1797 ; it
is from the Hon. Douglas Gordon Hallyburton, only
son of Charles, fourth Earl of Aboyne, by his second
wife ; the writer, who was then Assistant Quarter-
Master-General, was born in 1777, succeeded to the
estate of his cousin, the Hon. Hamilton Hallyburton
of Pictur, in 1784, and died on December 25, 1841.
The letter (the original of which belongs to Mr. Ernest
Beechey) is as follows :

" SIR, — If I had as bad an opinion of your memory as
probably you have of mine, I should think it necessary
to recall to your mind by many minute particulars, the
recollections of the person whose name you will find at
the foot of this letter, and who at his mother's desire
sat to you, more than eight years ago. I should say
he was then a young gentleman who had rather out-
grown himself, and who having just left the University,
chose to be painted in a black coat and with a book,
rather than in a red coat and sword, which are now
more appropriate emblems of the profession he has just
entered into. If a picture answering to this descrip-

56 SIR WILLIAM BEECHEY

tion is still in existence, it can be no other than that of
Mr. Hallyburton.

I have always found that the most likely way of
being excused for any negligence is fairly to confess it
and not to invent excuses, which cover the fault about
as much as a vine leaf covers the whole body of one of
our colossal statues. I shall therefore only say, sir,
that I accuse myself of great negligence in not having
very long ago paid the full price of my picture and
removed it from your house. I think it not unlikely,
that you may have supposed me to be either dead or
held in profound sleep, and therefore in some moment
of exigence, may have betaken yourself to the canvas of
the defunct. Perhaps some fair lady occupies the
place I once held ; who far from neglecting her image
for eight years, every day beholds herself, as drawn by
you, with greater delight than she could receive from
looking in the glass. Should this be the case, I must
confess the canvas is better employ 'd than in exhibiting
one who seldom wishes to see himself but when he
shaves. If however, my picture is still in existence, I
beg leave to express to you my regret at having so long
neglected it, and to say that I hope to be in town in
three weeks, or a month, and will certainly have the
pleasure of calling upon you, etc. etc. etc. May I beg
you will favour me with a few lines in answer to this,
and believe me, sir, a real admirer of your works,
and

" Your most obedient very humble servant,

**D. G. HALLYBUETON.""

Col led ion A. Itixi'lif/it:

BltOTHKK AND SISTKK
7V(e Ltturrt

CHAPTER III

1798-1806

BEECHEY'S principal picture in the Academy of 1798 was
one of the chief attractions of the exhibition, and was by
far not only the most important work which he had
attempted, but also the most ambitious. It figures as
No. 178, and is thus catalogued : " His Majesty review-
ing the Third or Prince of Wales's Regiment of Light
Dragoons, attended by H.R.H. the Prince of Wales,
H.R.H. the Duke of York, Sir W. Fawcett, General
and Adjutant-General, and Knight of the Bath,
Lieutenant-General Dundas, Quarter- Master- General
and Major-General Goldsworthy, His Majesty's first
Equerry." The conception of the picture would seem
to have dated from about 1794. " At this time (1794)
Mr. Beechey had a cottage at Craven Hill, near
Bayswater, and was in the habit of passing through
the park every morning on his way to Great George
Street. On one of these occasions it happened that
the King (George the Third) was reviewing the House-
hold Troops. He was mounted on his favourite white
horse, Adonis, and was attended by the Duke of York
and Generals Fawcett, Dundas and Goldsworthy. The
day was fine, and the exhibition so agreeable to the

58 SIR WILLIAM BEECHEY

painter that he remained to witness the evolutions ;
and having made a sketch of the scene, with the
portraits of the King and the Duke of York in the
foreground, he took an early opportunity of showing it
to His Majesty, who was pleased to give him a commis-
sion to paint a picture in which the figures should be
represented the size of life. This he accordingly did,
so much to the satisfaction of his patron that he not
only paid him liberally for his labour, but conferred on
him the honour of knighthood. . . . This was an
arduous undertaking, and is, so far as we are aware,
almost the only work of its kind which has been pro-
duced in England at the time at which it was painted.
The horses, although Mr. Beechey had had little prac-
tice in animal painting, are as faithful and spirited
portraits as their riders ; every facility for his achieve-
ment of the task he had undertaken having been
afforded to him by His Majesty. The picture occupied,
when exhibited, a large portion of the end of the great
room of the Academy."" (Alaric Watts, '* The Cabinet
of Modern Art," 1836, pp. 101-102.)

The picture is on canvas, 13 ft. 8 in. by i6£ ft. The
king is in front on a white horse, whose head is turned
to the left. He is in full regimentals, with a cocked
hat. Just behind him is the Prince of Wales, in the
uniform of the loth, holding up his sword and giving
the word of command. To the left of the King is the
Duke of York, with Generals Goldsworthy and Sir
David Dundas; Sir William Fawcett is standing in
front of them. The King is turning round to speak to

1798-1806 59

them, and points with his right hand to the cavalry
charge in the left distance.

The roth Light Dragoons (now the loth Hussars)
was frequently reviewed by George III. in company
with the Prince of Wales, who entered the army as
brevet-colonel, November 19, 1782, and after whom the
regiment was called " The Prince of Wales's Own " on
Michaelmas Day, 1783. In 1793 he was appointed
Colonel-Commandant of the Corps, and succeeded as
Colonel on July 1 8, 1796. . . . This picture is regarded
as Beechey's masterpiece, and was very much admired
at the time. But " although a clever and showy group
of portraits, it has little of real nature ; and is full of
the painter's artifices. Thus, the King^s white horse
forms the principal light, and comes off' the Prince of
Wales's dark horse, and so on ; the light and shadow of
all the heads being the light and shadow of the studio,
and not of the field." (Redgrave, " Century of
Painters.") The King had several copies taken of it,
one of which he gave to Lord Sidmouth, the figure of
the Prince was omitted by the King's desire, a
curious proof of his dislike of his son. When the Prince
became King he hinted that it should be restored, but
this was evaded. Benjamin Smith engraved the por-
trait of George III. from this picture.

Nearly all the newspapers spoke in highly flattering
terms of the work. One (dated April 18, 1798) says
that " the grouping of the figures is a strong proof of
accurate judgment, and the horses are well drawn. The
likeness of the Duke of York is, however, generally

60 SIR WILLIAM BEECHEY

allowed to be imperfect. The painter has thrown a
pensive and sable cast over the features, that makes the
countenance of a man ten or fifteen years older than his
Royal Highness." (T. H. Ward, " Collection of News-
paper Cuttings.") Another speaks of this " picture of
immense size, great merit, and a most brilliant effect,
we were astonished when told by the artist that it was
completed in two months." (Same collection.) The
Monthly Mirror (May 1798) always friendly to Beechey,
says : " This grand picture arrests the primary notice,
as well on account of its execution, as of the elevated
characters of the persons represented. The difficulties
Sir William Beechey has surmounted are scarcely to be
conceived but by an artist. These are the extraordinary
magnitude of the work, far beyond anything he had
ever before had an opportunity of treating. . . . The
horses exhibit great intelligence, spirit and freedom.
The evolutions of the cavalry are arranged to the
advantage of the principal figures. The whole is the
work of a master, and will be so considered by posterity.
Of the likenesses every man will judge for himself: for
my part, I think them excellent." A signed drawing
for this picture was purchased by the South Kensington
Museum in 1890 (No. 134). Mr. Ernest A. Beechey
possesses a sketch-book of his great grandfather's with
a large number of pencil drawings and sketches for this
work. The original picture was until recently at
Hampton Court, but has been removed to Kensington
Palace, and is fully described, with a photograph, in
Mr. Ernest Law's *' Royal Gallery of Hampton Court,"

1798-1806 6 i

1898, p. 354. It was engraved in mezzotint by James
Ward, April 10, 1800 (25! in. by 23 in.), and of this
there are seven progress proofs of the first plate, and
seven of the second in the British Museum Print Room.
On February 6, 1811, the same artist-engraver issued a
mezzotint portrait of the King, whole length, directed
to right, looking to front, mounted on his favourite
charger Adonis. " This picture would be correctly
described as copied from Beechey ; on the seventh pro-
gress proof in the British Museum the engraver has
written : * The Horse painted from Adonis the King7s
charger by James Ward. The figure copied out of the
Review picture by Hopkins. The whole painted over
and finished by Mr. Ward, and now in possession of
Lord Somerville.1 " (Mrs. Frankau's "James and
William Ward," pp. 97-8.)

So far as we have discovered, only one of the many
replicas has come into the open market. This, a sketch
only, was presented to General Sir R. Donkin by the
Duke of York, and was lot 108 at Christie's on July 30,
1895, when it realised 90 guineas. Mr. Herbert Jack-
son possesses a replica on a small scale (about the size
of the engraving), which, it is believed, Sir William
Beechey painted; this may be identical with the
" small copy " of this picture which the artist sold to
Mr. T. Bernard in 1811 for 50 guineas. Soon after
the Academy was opened, the King conferred (May 9)
on Beechey the honour of Knighthood — "at the express
intimation of the Queen, a mark of favour well-merited
by the artist, and creditable to the discernment of Her

6± SIR WILLIAM BEECHEY

Majesty * (Monthly Mirror, May 1798, p. 282), and
this was the first instance of such an honour being
conferred on an artist since Sir Joshua Reynolds's time.
During the same year also he was elected a Royal
Academician, filling the vacancy caused by the death
of William Hodges.

The King's dislike to his eldest son is too well known

to be dwelt upon here ; the presence of the Prince in

this great picture is accounted for in the following

manner. When the work was nearly finished, the

Queen came into the studio and the artist said to her :

•' Now what I should like to do, and what would be the

making of the picture would be to put the Prince of

Wales on his black horse behind His Majesty's white

one, but I should never dare to do it/' So the Queen

said "Oh, do, just dash it in for me to see."" Sir

William said it was as much as his life was worth to do

it, but Her Majesty exclaimed, " Never mind, I will be

responsible," and so it was done. Soon afterwards the

King came in with his cheery greeting of " Well,

Beechey, how are you — ? What, what, what ! What's

that Beechey ? Nonsense, I won't have it ! " And ere

he could make a reply the Queen said it was her doing,

but he was very wroth and ordered it to be stripped off

the frame and burnt ; of course the artist obeyed, and

thought it was sent away to be burnt, but the Courtier

who took it kept it, and two years after when the King

was reconciled to his son he asked where the picture

was, *' Didn't you finish it Beechey ? " and when he was

reminded of the incident he could not recollect it at

QUEEN CHARLOTTE
By permission of the Executors of the late W. L. Elkins, A'w/., Philadelphia

1798-1806 63

all ; the gentleman who kept the picture then produced
it and it was finished with the Prince in it. How
far or to what extent these stories (derived from
family records) are true or otherwise, it is now
impossible to state, but there is a most significant
entry in Beechey's Account-Book under date
September 2, 1817 : "Of the Prince Regent from the
Lord Chamberlain's office for altering the large picture
of His Majesty on horseback, ^105," and the only
alteration which this sum would suggest is the addition
to the picture of the portrait of the Prince of Wales
himself.

Sir William used often to sleep at the palace and the
King, an early riser, would come into his bedroom
before he was up and say, " What, still in bed Beechey ?
Lazy fellow, get up and come out."" One day he went
into the studio and saw he had put a tree with autumn
tints in the background of the picture of a lady he
was painting, and said, " Hullo Beechey, red trees, red
trees ! No such thing as red trees, don't believe it."
So next morning Sir William got up early and cut a
bough with very red leaves and hung it on the easel
before His Majesty came in ; when he did come in
he stared at it, and then said " Humph, painted by
God, eh ? Bad courtier Beechey, take it out," and of
course he did. His object in painting a red back-
ground was that he might put more colour in the flesh
tints, and he used to declare that there was so much
colour under the surface that his pictures would
outlast those of any painter of his day.

64 SIR WILLIAM BEECHEY

In addition to this great picture, Bcechey was also
represented at the Academy of 1798 by three portraits
and a group. Lady Cawdor, No. 169, was Lady Caro-
line Howard, eldest daughter of the fifth Earl of
Carlisle, and wife (she married on July 27, 1789, and
died in 1848) of John Campbell who was created Lord
Cawdor in June 1796 : perhaps the Lady Caroline
Campbell of the 1795 Academy is identical with the
Lady Cawdor of 1798. Mr. John Trotter (1757-
1833), whose portrait was, "in point of force and
nature, entitled to rank very high" ("Public Characters,"
p. 355), and by another writer pronounced " the most
scientific portrait of the day, and nearly concentrates
the very perfection of the art," was one of several
remarkable sons of Archibald Trotter of The Bush,
Castlelaw, Scotland ; he came up to London and obtained
a post in a Government office where his great adminis-
trative capacity speedily procured his promotion " inas-
much that he became at last almost the sole and
recognised director of a branch of the revenue, of vast
extent and vital importance"; while having the direc-
tion of the National Stores, and the contracts for many
supplies, he had found it necessary to purchase, build,
and give a wide extent to premises adjoining his residence
in Soho Square and spread into adjacent streets. When
the Government department was formed, these spacious
premises fell back into his hands, and his enterprise led
him to build in 1815, what was afterwards known as
the Soho Bazaar, which for long remained one of the
sights of London. He purchased Dyrham Park, Herts.

1798-1806 65

His elder brother Alexander, was a Navy Office
reformer whose enterprise involved his chief, Lord
Melville, in trouble ; and his younger brother, Coutts
Trotter, was created a baronet on July 21, 1821. An
interesting personal account of the Trotters is given
in Jordan's "Men I Have Known," 1886 (pp. 421-

430).

The Mrs. Ed. Long, No. 234, was Mary, daughter of
John Tomlinson, Esq., M.P. for Steyning, and wife of
Edward Beeston Long, of Hampton ; of her husband,
also, Beechey painted a portrait of which an " un-
finished " example was lot 65 in the Beechey sale at
Christie's on June n, 1836, when it realised only £3 ;
it may have been only a replica of a finished portrait.
The writer of the obituary notice in the Gentlemarfs
Magazine (April 1839), refers to "one of the best of
Sir William's works'" as being in the possession of
Edward Beeston Long's son, " Henry L. Long, Esq., of
Hampton Lodge, Surrey ; the subject is the Infant
Hercules^ Sir William often spoke of it as his favourite
picture. Mr. Long, then a child of about two years of
age, is painted as the young Hercules, while his elder
brother, Edward Noel Long (afterwards of the Cold-
stream Guards, and lost on his passage to Spain in
1809), is represented as robing him in the lion's skin.
This picture was afterwards, with the substitution of a
cross for the club, copied by Sir William for his picture
of St. John the Baptist." The portraits of Mr.
Wedderburn's children, of which a photographic repro-
duction may be seen in Mr. A. Wedderburn's " The

66 SIR WILLIAM BEECHEY

Wedderbum Book," 1899, may a'so be mentioned.
The Academy of this year was Beechey's greatest
popular, if not artistic, triumph. Daring this year his
portrait of H.R.H. the Prince of Wales was deposited
in the Council Room of the Royal Academy on his
election.

Beechey had no royal portraits in the 1799 Academy,
but he had a picture, which curiously enough, brought
him into rivalry with Lawrence, who, in 1798, exhibited
his portrait of Kemble as Coriolanus at the hearth of
Tullius Ansidius, which, in spite of its merits, " was
never very much admired by the profession."" Beechey ^s
nine portraits of 1799 included one of Mr. Kemble, but
not in character ; it shows the great actor nearly full
face, in dark velvet coat and shirt ruffles, hands crossed
on a book, which rests on a table — this strong portrait
is in the Dulwich College Gallery ; another version of it
is at the Garrick Club. This was followed in the next
year's Academy by another picture by Lawrence, of
Kemble as Rolla, and, in 1801, by the portrait of
Kemble as Hamlet, now in the National Gallery, both
engraved by S. W. Reynolds. Beechey's portrait of
Kemble was a commission from Desenfans, and is in
other respects interesting, as may be gathered from the
following letter :

CHARLOTTE STREET, Thursday morning.

" DEAR SIB, — Some of your Brother artists will
probably wish you joy with their lips only, and I wish
you joy with all my heart, nay, my own vanity is

MRS. COPPELL

By permission of Hvnnj Pfungst, Esq.

1798-1806 67

gratified on this occasion, as I have always been partial
to your performances. Indeed by conferring the honor
of knighthood on you the king has honored himself as
much as he has done you. Since I have shown my
pictures to His Majesty, I have entertained the highest
opinion of his taste from the remarks I heard him
make. I am happy that he has now giv^n at once a
fresh proof of his knowledge, and a fresh encouragement
to the arts.

" I hope as soon as you are at leisure you will go on
with [the] Kemble portrait, so that I may have to
boast I possess the first picture of Sir William
Beechey.

" Believe me, with great and sincere attachment,
" Dear Sir, Your humble obedient servant,
"NOEL DESENFANS."

Two of the Beechey exhibits of 1799 might rank as
fancy portraits, Miss Lushington being represented as a
Bacchante (" painted with uncommon spirit and great
science"); and the celebrated " Anastasius " Hope in
Turkish dress. There were also portraits of Mrs.
Gooch — a lady of this name was residing, according to
Boyle, at 20 Michael's Place, Brompton, in this year ;
the Marquess Cornwallis, a whole length in Robes of
the Garter, engraved in mezzotint by James Ward, in
the year of its appearance at the Academy ; Sir William
Young, doubtless a companion to the whole length of
Lady Young of 1796 ; and Mr. Boulton, of Soho,
Staffordshire, the eminent engineer, inventor and

68 SIR WILLIAM BEECHEY

associate of Watt, a nearly whole-length portrait
engraved by W. Sharpe in 1801, by Card on for the
"British Gallery of Contemporary Portraits,"" 1822,
and by Mackenzie for the Union Magazine, August
1802. Boulton was an old friend of the Beecheys, as
may be seen from the following letter, written three
years before his death. The letter is inscribed in
Beechey's autograph, " Mr. Boulton, Soho, October
1806, with medals of Lord Nelson." The letter is as
follows :

SOHO. October 20, 1806.

*' MY DEAR SIR, — It is a long time since I gave you,
under my own hand, a proof of my existence, which I
am now just able to do, but nevertheless I am very weak
and in constant pain.

" Although the Heros of Trefalga [sic] conquered the
French and Spaniards, yet nevertheless feeble as I am I
am now prepared to conquer them by the presence of
their immortal and unconquerable commander; speci-
mens of which I send you herewith in silver, copper
and grain tin ; but I beg you will view them as they lye
in their boxes and touch the edges only.

" Allow me, dear sir, to present my love to Lady
Beechey and my blessing to all your children with my
most ardent wishes for your health and every other good
you can desire.

" Remaining ever,

"My dear Sir William,

" Your affectionate friend,

" MATTW. BOULTON."

1798-1806 69

There were two other portraits in the Academy of
1799. One of Lady Carbery, who was Susan, daughter
and sole heir of Colonel Henry Watson — chief engineer
in Bengal — and wife of George, fourth Lord Carbery,
whom she married on August 13, 1792 ; after his death
in 1804, Lady Carbery married Mr. George Freke Evans
of Bulgaden Hall, and died in 1828. The second of
these two portraits was of a " Mr. Browne." In this
year's Academy Henry Bone exhibited his copy on
enamel of Beechey's portrait of the Queen.

The rivalry of the four great portrait-painters of the
day — Lawrence, Hoppner, Beechey and Opie — was
perhaps never so manifest as at the Academy of 1799.
All four had very nearly reached their highest level, and
it was a question, not so much as to which would advance
as to whether they would maintain their respective
positions. With the exception of Opie, all were power-
fully supported by one section or other of the Royal
Family, and all were in the enjoyment of the patronage
of "the rank and fashion.11 Other men were slowly
making headway, Martin R. Shee, William Owen, and
Raeburn more especially ; the most powerful rival of all,
George Romney, had returned to his house in the North
of England, a physical and mental wreck, after nearly
forty years of incessant application, and an unrivalled
popularity which existed for nearly a quarter of a
century, entirely unaided by the "advertisement1" of
the Royal Academy.

Beechey 's eight portraits of 1800 included two of
royal personages, the King and H.R.H. the Duchess of

70 SIR WILLIAM BEECHEY

York. That of the King, No. 69, was clearly a whole
length on horseback, as, according to a newspaper
cutting in Mr. T. Humphry Ward's collection, "The
horse we understand was painted by Gilpin, and it is
worthy of his professional repute." This portrait is, or
was, at Windsor Castle ; the artist probably executed a
number of replicas, from " heads "" to whole lengths, of
this picture, which is probably the one engraved in
mezzotint by James Ward in 1811 ; one of these, three-
quarters or " a head," was in the artist's own possession
in 1809, when it was engraved by A. Cardon for Cadell
and Davies's series of portraits: it was bought in at
the Beechey sale at Christie's, June n, 1836, and was
"passed" at the sale at Rainy's, July 19, 1839. -^n
unexhibited whole-length portrait of His Majesty was
painted by Beechey at this time, and is now at Lord
Salisbury's residence at Hatfield : the King is standing,
the face seen three-quarters to the left, wearing Field-
Marshal's uniform and the Star of the Order of the
Garter, he holds a cane in his right gloved hand, the
other glove in left hand ; Hatfield House and park are
seen in the background ; this portrait was presented by
His Majesty in commemoration of his visit to Hatfield,
June 13, 1800, at the Grand Review. It may be here
mentioned that Lord Salisbury possesses copies by Sir
William Beechey of Reynolds's portraits of George HI.
and Queen Charlotte.*

* With regard to copies after Reynolds : " We were once assured,
on no less authority than that of the late Mr. Northcote, that
Sir W. Beechey's copy of Sir Joshua Reynolds (now in possession

1798-1806 71

The portrait of the Duchess of York, No. 68, is a
three-quarter figure portrait of much artistic charm ; it
shows her seated in a white dress ornamented with gold,
and with a three-row gold necklace, she holds a letter in
her left hand, whilst others lie on a table to her left
(canvas 35 in. by 27 in.) ; this portrait was presented
by Her Royal Highness to Mrs. Gwyn, and was lent to
the South Kensington Portrait Exhibition in 1868 by
Mr. K. Gwyn ; it was successively in the Gwyn, James
Price and Sir Julian Goldsmid's sales at Christie's, in
1889, 1895, and 1896, realising 7 5 guineas, 1200 guineas
and 1400 guineas respectively. This is, presumably,
the portrait by Beechey of the Princess engraved by
M. A. Bourlier, for La Belle Assembler of September
1 806 ; but a slightly different portrait of her, looking to
left, with a four-row pearl necklace, with high pleated
collar, was engraved at about the same time by Scriven.
Beechey's only other portrait of a " Person of Quality "
in this Exhibition was that of Lord Carnarvon, whose
brother, Charles Herbert, was, as we have seen, an early
patron of the artist. Still more interesting was No. 179,
Lady Beechey. The writer of the sketch of Beechey in
" Public Characters, 1800-1801," says : " A portrait of
Lady Beechey, with the youngest of eight children in
her arms, we cannot omit noticing, as a strong example

of Lord Northwick), and his portrait of Mrs. Robinson (now in
possession of the writer of this notice), were so highly approved by
Sir Joshua Reynolds that when he saw them by the side of the
originals, he declared that he had a great difficulty in recognising
his own works."— Alaric A. Watts, " Cabinet of Modern Art,"
pp. 102-103.

72 SIR WILLIAM BEECHEY

of the manner which an artist succeeds when he paints
con amore ; in point of drawing, resemblance, colouring
and character it is a chefcTceuvre. If it came into our
plan to enumerate this lady's performances in miniature
(for she also is an artist, and a good one) many admir-
able little pictures might be added to this list." This
picture was generally praised, one newspaper said that
" the appearance of nature is ably represented in the
child, and there is a pleasing expression of parental
tenderness in the mother." Says the writer in the
frequently-quoted notice in the Monthly Mirror : " he
has been married several years to Lady Beechey, his
second wife, an amiable and accomplished woman, who
is herself an artist of very superior ability. They have
been blessed with eight children, of whom the eldest is
now only nine years of age." Beechey's other exhibits
in 1800 included Mrs. Hill and child ; Captain Foley,
probably a relative of the Mr. Foley of 1795 ; Mrs.
Greenwood, perhaps the wife of the Mr. Greenwood of
the 1792 Academy ; and Master Gosling, the first of a
number of members of this family to sit to Beechey ;
the other Gosling portraits will be found in the Account
Books of 1817, 1820, and 1823.

A portrait of considerable interest was painted in 1800
by Beechey, viz., that of Nelson's father, the Rev.
Edmund Nelson (1722-1802), a bust full face, in black
gown (canvas 30 by 25), now the property of Earl
Nelson ; a copy of it is in the Combination Room*
Caius and Gonville College, Cambridge, of which
College Nelson's father was a Fellow and of which also

.MKS. COUTTS

l-'rom the eni/raring by T, lt't><>l>.oth

1798-1806 73

Beechey's son and grandson were alumni. The story of
the portrait (which was lent to the Exhibition at South
Kensington in 1868) is told in the following letter,
dated March 4, 1800, from Lady Nelson to her
husband : " I think you will be surprised when I tell
you our good father is sitting for his picture. Sir W.
Beechey is the fortunate man. You must know it is a
profound secret. I went to Sir W. B. to ask his price,
look at his pictures, and then inquire whether he would
go to an invalid ? The answer, ' No,' puzzled me :
however I said, * Sometimes general rules were broken
through.1 Sir W., finding I was rather anxious about
this picture, said that really he never went to any
person excepting the King and Royal Family. The
Duke and Duchess of York had that instant left the
house. I knew that. ' But, madam, may I ask who is
the gentleman ? ' ' Yes, sir ; my Lord Nelson's father/
4 My God, I would go to York to do it ! Yes, madam,
directly.' He was as good as his word, and has been
here twice. I think the likeness will be an exceeding
good one. I don't know whether the picture is for you
or me. . . . The picture is for you, so I hear this
morning " (Nicolas's "• Despatches and Letters of Lord
Nelson," iv. 514).

The first of the 1801 portraits was No. 79, H.R.H.
the Duke of York. This was doubtless the whole
length of the Duke presented to the Royal Military
Hospital, Chelsea, in 1807, by Mr. Charles Greenwood,
and lent to the Military Exhibition in 1890, No. 691,
by permission of Lieut.-Col. Fitzgerald. The Duke,

74 SIR WILLIAM BEECHEY

who was popularly known as " The Soldier's Friend,"
was first President of this Hospital ; he was the second
son of George III., was born in 1763 and died in 1827.
A coloured engraving, which shows a half figure, in
blue uniform with Order of the Garter, directed to
front and looking to left, was done by Maria A. Bourlier
for E. Harding's collection of " Portraits of the whole
of the Royal Family ," May 19, 1806. A portrait of
the Duke (canvas 51 in. by 6if in.) was presented in
1895 by Mr. T. J. Blakeslee to the Metropolitan
Museum of New York. Another portrait of the Duke
of York was exhibited at the Academy of 1812, and
will be referred to in due course. A second royal
personage was No. 144, H.R.H. Prince Augustus (after-
wards Duke of Sussex), probably the portrait engraved
by M. A. Bourlier for Harding's above-mentioned
*' Portraits," and lot 80 in the Duke of Cambridge's
sale at Christie's, June n, 1904, when it was purchased
for 38 guineas by an American dealer. But the
most important picture of the year was No. 125,
Lord Nelson. This portrait was painted at the
request of the Corporation of the City of Norwich
for St. Andrew's Hall in that city. It is a whole
length, and represents him standing on deck,
directed to front, facing and looking towards right, in
uniform with stars and orders, left hand on sword.
This is the parent of a large number of replicas by
Beechey himself, and of copies by others, whilst to
enumerate all the engravings which have been done
from it would far exceed the limits of this work.

1798-1806 75

General W. E. G. Bulwer, of Heydon Hall, near
Norwich, possesses the original finished sketch in oils
(canvas 17! by 15!) of the head and shoulders of this
great picture ; this sketch is of very fine quality, full
of vigour and life. The earliest engraving was in
mezzotint by Edward Bell, published on May I, 1805,
and dedicated to the Corporation of Norwich " by their
much obliged fellow citizen and humble servant,
Jeremiah Freeman.1' A smaller picture, three-quarter
figure, in naval uniform, breast covered with decora-
tions, right sleeve fastened across, left hand on sword,
was presented to the Corporation of the City of London
by Alderman John Boydell, and was engraved by
Richard Earlom in January 1806. The Earl of
St. Vincent's version was engraved by R. Cooper for
Cadell and Davies's series of portraits in 1815, and the
Duke of Wellington's was, still later on, engraved by
Thomas Hodgetts, May 1840. A portrait "which
belonged to the widow of Nelson's coxswain, who gave
it to the exhibitor shortly before her death in St. Paul's,
Bermondsey," was lent to the Naval and Military
Exhibition, Edinburgh, 1889, No. 176, by the Rev. S.
M. May hew. Others have occurred for sale at Christie's
from time to time, and it would not be difficult to
swell the list. Beechey, according to A. A. Watts,
" had the gratification of numbering " Lord Nelson
" among his friends." " His lordship stood godfather
to one of Sir William's children, and at his particular
request presented him with the hat he wore at the
Battle of the Nile. He parted with it, he said, as an

76 SIR WILLIAM BEECHEY

old and tried friend, for he had worn it in many
battles" ("Cabinet of Modem Art," p. 102); this
hat, with other relics, is still preserved in the Beechey
family.

The two " ladies of quality " represented in the
1 80 1 Academy were : Lady Georgiana Bathurst as
"Adoration," a work engraved by Caroline Watson;
and the Viscountess Folkestone, Lady Catherine, only
daughter of Henry, Earl of Lincoln, and first wife of
Viscount Folkestone, Earl of Radnor, to whom she was
married October 2, 1801 (she died May 17, 1804). A
copy by S. Woodforde of this portrait was sold at
Christie's on May 4, 1901 ; the original picture is at
Radnor Castle, and is here reproduced by the courteous
permission of the Earl of Radnor, but the illustration
gives little idea of its brilliant colouring. The exhi-
bition also included "Rebecca; a Portrait," which a
writer in the Monthly Mirror describes as " in the
style of the Florentine school " ; a " Portrait of a Lady,""
whose name has not been revealed, and one of a little
girl, Miss Home, " dressing herself." In 1801 Beechey
was a witness in the famous law case of Delatre v.
Copley. When Copley finished his great picture of
The Death of Chatham, he placed it in the hands of
Bartolozzi, who undertook to engrave it for 2000
guineas. Bartolozzi contracted with the defendant to
publish another engraving of the same, half the size,
for which he was to give him ^800. After working
three years on it, Delatre finished it and sent a proof to
Copley, who, however, was dissatisfied, and refused to

WILLIAM CROTCH

The property of the Roi/al Academy of Mugh'. Reproduced here by special permission
of the Committee of Munnyemetit

1798-1806 77

pay the balance of ^650, ^150 having been paid
during the course of the work. Bartolozzi spoke in
favour of the engraving, and was sharply examined by
Erskine ; Beechey, Opie, Hoppner, Cosway and West
pronounced the engraving extremely ill-executed, but
the plaintiff obtained a verdict, with £650 damages.

Beechey managed to have two portraits of royal
personages included among his eight exhibits of 1802 ;
these were the Duke of Cumberland and Princess
Augusta. That of the former, a half-length in the
uniform of the Hussars, resting both hands on his
sword, was engraved by Fogg for Harding's " Portraits
of the whole of the Royal Family," 1806, and was
included in the Duke of Cambridge's sale, June n,
1904, when it realised 270 guineas ; a replica by
Beechey himself was lent by Lord Talbot de Malahide
to the South Kensington Exhibition in 1868. The
portrait of Princess Augusta is probably that which
was engraved by Geremia for Hard ing's " Portraits,"
and represents her in a brown dress lined with blue,
muslin kerchief round her hair, seated before a spinning-
wheel ; this was in the Cambridge sale, 1904, lot 74,
when it realised 80 guineas ; the same sale included
three portraits of this Princess, a second, lot 79, showing
her in white muslin dress, blue sash, and blue ribbon in
her hair, and this realised 80 guineas. The most
important of these three portraits will be referred to in
dealing with the Beechey exhibits of 1819, whilst a
fourth portrait of her, at Buckingham Palace, has
already been described (p. 53). The 1801 portrait

78 SIR WILLIAM BEECHEY

of Nelson was followed, appropriately enough, in 1802,
with one of Sir William Hamilton, the husband of
Emma, Lady Hamilton, whose name is so indissolubly
associated with that of Nelson. This portrait of
Sir William Hamilton, who died just twelve months
after its exhibition, has disappeared. The portrait of
Mr. Watt, of Soho, Staffordshire, No. 101, represents
the famous James Watt* (1736-1819), the eminent
engineer, and partner of Matthew Boulton, whose
portrait was in the 1799 Exhibition ; this portrait
was painted on Watt's retirement from the business,
in which he had successfully effected a transform-
ation of the method of locomotion, and represents
him a grey-haired elderly man, in dark coat and
white stock, directed to front, full face. It has fre-
quently been engraved : by Thomson for the European
Magazine, 1820; by G. C. Picart, for "The British
Gallery of Contemporary Portraits'"; by C. E. Wag-
staff, for Knight's "Gallery of Portraits," 1833-7,
when it was in the possession of J. Watt, of Aston
Hall, Birmingham ; and by Hinchcliffe, for Beckmann's
" Inventions."" Another interesting portrait of this
year was No. 274, Mr. Watts. This was Da\id Pike
Watts, of Portland Place, London ; and this portrait,
with other things, passed into the possession of Jesse

* This great man, to quote Lord Brougham's words, by " direct-
ing the force of an original genius, early exercised in philosophical
research, to the improvement of the steam-engine, enlarged the
resources of his country, increased the power of man, and rose to an
eminent place among the most illustrious followers of science, and
the real benefactors of the world."

1798-1806 79

Watts Russell, of Ham Hall, Staffordshire (it forms
No. 24 in the 1827 catalogue of that collection), whose
choice gallery of pictures was dispersed at Christie's in
July 1875, when a splendid landscape by Gainsborough
was secured for the National Gallery. Jesse Russell
married, as his first wife, Mary, only child and heir of
David Pike Watts, and assumed the surname of Watts
in March 1817, presumably on the death of his father-
in-law. There was evidently a more than business
intimacy between David Pike Watts and the artist,
who apparently was at one time his patron's guest. In
the Jesse Watts-Russell sale, July 3, 1875, there were
four pictures by Sir William Beechey, all presented by
the artist (lots 2-5) : View from the House of David
Pike Watts, Esq., St. Jameses, Dover, dated 1802 ;
Beggars at a Cottage Door ; St. RadiguncTs Abbey,
Dover; and the companion picture. The last two
pictures, also painted in 1802, were again sold, together,
at Christie's, on May 6, 1905, when they realised
20 guineas. The Academy of 1802 also included a
portrait of Mrs. Skottowe, and a group of Lady Temple
and her son Lord Cobham. Lady Temple was after-
wards Duchess of Buckingham, and her son (born 1776)
succeeded his father in 1813 as second Marquess of
Buckingham : he became Duke of Buckingham and
Chandos in 1822. When the art collections of the
family were dispersed, this picture was amongst them,
forming lot 115, in the sale at Avington House, near
Winchester, in 1848. The Stowe Catalogue of 1838
(p. 50) includes a Beechey portrait of this the second

8o SIR WILLIAM BEECHEY

Marquess and first Duke of Buckingham and Chandos,
but it was not included in the famous sale held at
Stowe in 1848.

Beechey had only five portraits in the 1803 Academy ;
and one of these, No. 1 29, was of the Princess Sophia of
Gloucester, eldest daughter of the first duke ; the en-
graving of Scriven in La Belle AssembUe of November
1808, is of the head and shoulders only ; she is wearing
a white low dress, arms bare, three-row pearl necklace,
and with white head-dress, the ends of which fall over
her right side, right hand resting against her face.
Another portrait of her, in white muslin dress, a pearl
necklace, and pearl ornaments in her hair, was in the
Duke of Cambridge sale of June 1904 (30 in. by 25 in.),
lot 76, when it realised only 55 guineas ; and yet
another, half-length, life size, in brown dress and up-
right lace collar, gold necklace (30 in. by 24 in.), was
lent by the Earl Waldegrave to the Exhibition of
Portraits of the Monarchs of Great Britain at the New
Gallery in 1901-2. A second portrait of this year was
that of Charles, Earl of Romney (No. 55), a whole
length, standing, looking to front, right hand on paper
on table to left, sword in left hand ; this was engraved
in mezzotint by Valentine Green, October 15, 1803.
Either the original portrait or a replica of it is now at
Petworth,* Lord Leconfield's seat ; another version was
engraved as a book-illustration early in the nineteenth

* " Among the kindest and most liberal patrons of Sir William
Beechey it would be an injustice to both parties not to mention the
name of the Earl of Egremont ; indeed, it would be difficult to

MISS CROWE (MRS. TKAFFORD)
By permission of E. S. Trafford, Esq.

1798-1806 8 1

century by W. Bromley, " from the original painting
. . in the possession of the Marine Society," a
head and shoulders only, in robes. Miss Halton
figured as No. n ; Sir W. Staines,* No. 65, was an
eminent city magnate, knighted on October 26, 1796,
the year before he served as sheriff (he was elected
alderman in 1793) ; in 1801 he became Lord Mayor,
and died at Clapham on September n, 1807 ; he was a
stone-merchant of Milbank Street. A group of Mrs.
Symonds and Family formed No. 117, — " In the family
group of Beechey," says one of the newspapers, " there
is truth of design and force of colouring. It is placed
in the centre of the great room, and is one of his best

point out any man of worth and genius who has made the fine arts
his profession, who has not received more or less encouragement
at his hands" ("Cabinet of Modern Art," p. 103). The Earl of
Romney, mentioned above, married Frances, daughter of Charles,
Earl of Egremont (and sister of George, Earl of Egremont, the art-
patron mentioned by the writer of the above quoted notice in the
"Cabinet of Modern Art"); and the other pictures by Beechey
purchased by the Earl were Venus and Cupid, Mrs. Hasler as Flora,
Lady Burrell as Hebe, a second portrait of Lady Burrell, and
Charlotte Tredcroft, Lady King, dated 1820,

* " When Mr. Nollekens once had occasion to visit the church of
St. Giles, Cripplegate, he asked me to walk with him ; and as we
entered Jewin Street, we met Sir William Staines, who informed
him of his having been chosen Mayor, and that he should send him
a ticket for the civic dinner. Nollekens : • Dinner ! Bless your
heart, I'd rather dirie at home ; you citizens make such a noise, and
I get my clothes spoiled ' . . . Staines : ' Have you bought any
stone lately ? I have some very close Yorkshire. ' Nollekens :
" No, I don't want any.' Staines: 'Well, then, you won't dine
on my day? ' Nollekens : ' No, but I suppose my friends Sir William
Beechey and Sir Francis Bourgeois will be there.' — J. T. Smith,
" Nollekens and His Times," vol. i, pp. 349-50.

82 SIR WILLIAM BFECHEY

works ; " but nothing is so far known of either Mrs.
Symonds or of Miss Halton.

Only one of Beechey's 1804 Academy pictures —
seven in number — has been identified ; and this, No. 416,
Mr. Heaviside, does not appear to have been a good
portrait. John Heaviside (1748-1828), his town
address was 14 George Street, Hanover Square, a few
doors from Beechey^s old residence at No. 8, was a dis-
tinguished surgeon of Geddons, Herts, and this
portrait was engraved in mezzotint by W. Say, half
length, in plain coat, buttoned, looking to front, in
July 1803 ; and it was again engraved by J. Cochrane
for Jerdan's " Portrait Gallery,"" 1830-4 (vol. ii.) ; an
enamel of it was exhibited by H. Bone in the 1806
Academy, No. 765. A writer in one of the newspapers
(Colnaghi, "Collection of Newspaper Cuttings ") declares
it to be " by no means a good or faithful likeness of
the worthy original. This, among other instances,
proves that a painter may gain, perhaps deservedly,
great reputation without the wise intention of pre-
serving it by great care and assiduity.""

Both Hebe and Psyche were subjects which fre-
quently attracted Beechey, and one each of his many
versions of the two appeared at the Academy now
under notice. Without exhausting the subject, it will
be necessary here to enter somewhat fully on his versions
of both. Hebe figured first as No. 6. There can be
no reasonable doubt that the earliest of this numerous
family was the small picture painted on panel
(30 J in. by 24 J in.) in 1803 for Charles Small Pybus ;*

* Pybus was a barrister, M.P. for Dover, and one of the

1798-1806 83

this is a charming picture of no ordinary artist's model ;
a half figure in low classical dress, directed to left, and
looking at the spectator three-quarter face, the left arm
is bare, with jewelled armlet above the elbow, hair
falling in curls over forehead and neck and bound with
a jewelled band. She is holding with both hands a
tray, on which is resting a vase. This picture realised
500 guineas at Christie's on May 8, 1897, 1°* 80, and
an illustration of it is given in this book. It is highly
probable that this is another version of the Petworth
picture of Lady Burrell (Frances, daughter of George,
Earl of Egremont, married May 8, 1808, Sir Charles
M. Burrell, M.P., and died September 28, 1848) ; a
presumption greatly strengthened by Watts's statement
that the portrait of "his lordshipV daughter " (Lady
Burrell) was "beautifully copied in enamel by Bone, who
represents her as Hebe"; in 1806 H. Bone exhibited at
the Royal Academy, No. 706, an enamel of Hebe
after Sir W. Beechey. A much later picture, and not
nearly so fine, signed with monogram and dated 1823,
was in the Massey-Mainwaring sale at Robinson and
Fisher's, June 10, 1898 ; it is said to represent the
artist's second daughter, Charlotte Earle, who married
on July 26, 1825, the third Lord Grantley (she died
on May i, 1878) : this is also a half- figure portrait,
and shows her in white low classical dress, with a gold
and ruby armlet and bracelet, facing front, and looking
to right ; the dress is suspended over the left shoulder

Commissioners for the office of Lord High Admiral from 1791 to
1795. Beechey's portrait of him (29^ in. by 24 in.) is now in the
Dulwich College Gallery.

84 SIR WILLIAM BEECHEY

by a blue ribbon, a wreath of roses and other flowers in
her hair, her right hand about to remove the cover
from a gold drinking cup (canvas, 24^ in. by 29 in.) ;
this picture was purchased for 125 guineas by M.
Sedelmeyer, of Paris, in whose sixth series of
" Painting by Old Masters," 1900, it is illustrated.
Another portrait of Lady Grantley as Hebe was sold
at Christie's on March 22, 1900, lot 113, 168 guineas ;
and one of Lady Beechey as Hebe (from " the Beechey
Family") figured as lot 120 at Robinson and Fisher's,
May 21, 1903. There can be no possible doubt that
Charlotte Beechey sat to her father for a fancy picture
of Hebe, for the present Lord Grantley possesses
among nine pictures by Beechey one of his daughter
Charlotte, who became Lady Grantley, in this character.
Another Hebe was lot 63 at Christie's, February 10,
1899. Two pictures on a very large scale were ex-
hibited at the British Institution — (i) in 1810, No. 43,
Hebe feeding the Eagle of Jupiter, 72 in. by 60 in., and
(2) in 1816, with an identical title, but much larger in
size, viz., 133 in. by 78 in. In the interval another
Hebe was No. 30, at the Royal Academy of 1814.

The Psyche of 1804, No. 15, is also the first of many
versions, — a writer in the Monthly Mirror, it may be
pointed out, declared it to be " too great an imitation
of the colouring of Baroccio.1' It was engraved, ap-
parently before it was exhibited, in stipple, by Caroline
Watson (6 in. by 5 in.), on January 2, 1804, for Marsh
and Durnford, and again later on by Greathead
(2$ in. by i\ in.). Other Psyches appeared at the

1798-1806 85

British Institution, 1806, No. 50, 1824, No. 228
(39 in. by 34 in.), and 1827, No. 2 (74 in. by 60 in.),
But one of the most charming of all was the work of
the artist's later life, and was at the Academy of 1830,
No. 40, with the title Psyche Returning from the Realms
of Pluto, and the legend " Elle remonte enfin des enfers
beaucoup plus gaie qu'elle n'y etoit all^e ; " this is a
whole-length figure in classical dress, with loose robes
flowing behind back and waist ; she is barefooted and
is running to right, holding in both hands the Box of
Beauty. This was engraved by L. Stocks (3^ in. by 3^ in.)
for Alaric Watts's " Cabinet of Modern Art," 1836 (the
plate is dated November, 1835), wnen the picture was
the property of Watts. " The picture which accom-
panies the present sketch, one of the most graceful
compositions of the painter, was executed in 1829 from
the well-known passages in the * Golden Ass of
Apuleius.1 It represents the return of Psyche to earth
with the Box of Beauty. The idea of the head was
suggested by a daughter of Colonel George Wyndham
during one of Sir William's visits to Petworth "
("Cabinet of Modern Art," pp. 104-5).

Of the four other pictures which figured in the 1804
Academy, A Lady and her Children, No. 22 ; A Lady,
No. 65 ; A Gentleman, No. 74 ; and A Child Picking
up Shells by the Seaside, No. in, nothing is so far
known. In the Academy of the following year, 1805,
he had seven exhibits, only one of which, An Officer in
the Volunteers, No. 256, remains unidentified. The
Bishop of Chester, No. 128, was Henry William Majendie

86 SIR WILLIAM BEECHEY

(1754-1830), who was appointed to Chester in 1800
and translated to Bangor in 1809; this portrait re-
presents him standing, in full bishop's robes, holding a
** mortar-board " hat in left hand ; it was engraved in
mezzotint by Charles Turner in 1824. Another dis-
tinguished personage of this year was James, first
Marquess of Salisbury (1748-1823), whose portrait,
No. 171, was a whole-length, life size, and shows him
in the robes of the Garter, the George suspended from
his collar, with horse galloping to right ; and the por-
trait (now at Lord Salisbury's town residence, 20
Arlington Street) was engraved in mezzotint by W.
Say, in 1803, and in stipple by E. Scriven for Le Beau
Monde, April i, 1808; it was lent to the South
Kensington Exhibition, 1867, No. 859. Mrs. Spicer
was No. 162. Miss Mellon in ** The Honeymoon " was
No. 178, which, from the price paid, viz., 120 guineas,
must have been a whole-length. The Honeymoon was
a comedy by Tobin, suggested by Shakespeare's Taming
of the Shrew, and of it three lines are worth quoting :

• •' The man that lays his hand upon a woman,
Save in the way of kindness, is a wretch
Whom 'twere base flattery to call a coward."

The play was first produced on January 31, 1805;
Miss Mellon (1775-1837), the beautiful actress who had
been chased from her home by a virago of a mother,
and was acting at thirty shillings a week, became
successively the wife (in 1815) of Thomas Coutts, the
banker, and (in 1827) of the ninth Duke of St. Albans.

I.ADV 1)K LA WAHi:

permission of Mi-mini. Doicdrmrt-U, turner* of flu- picture

1798-1806 87

In The Honeymoon she scored a triumph as Volatile,
one of the three daughters of Balthazar. This early
portrait of her in character, when she was the " youthful,
slim, and beautiful creature " described in the " Life
of Charles Mathews," was one of Beechey^ great
popular successes. " A fine coloured engraving of her
in this character after a portrait of Sir Wm.
Beechey, was brought out, and sold rapidly. . . .
As the history of the painting above alluded to ... is
somewhat curious we subjoin the account as given by
Sir Wm. Beechey himself. An individual, whose
daughter was much patronised by Miss Mellon, was
employed by Sir William to furnish for his infant
daughters some of those back- boards and collars which
keep little heads upright while puzzling over their
lessons ; and the value of these articles, which were
delivered at different times, amounted to above fifteen
pounds. On being asked for the account, however, the
man hesitated, and hinted something of wishing for a
picture in exchange ; and Sir William Beechey having
always patronised him, said he would paint him any
portrait he would select. The individual being too
happy at procuring a sixty-guinea picture on such easy
terms, begged it might be a likeness of his daughter's
kind friend, Miss Mellon, as ' Volante,1 which was
accordingly done, and the picture given to him. In the
course of a few years this person was in prison, without
any pecuniary means ... A young picture-dealer,
who pitied the extremity of distress to which the
wretched man had reduced himself, suggested the possi-

88 SIR WILLIAM BEECHEY

bility of (the now) Mrs. Coutts buying the portrait, if
it came through other hands. The prisoner seized on
the idea, consulting Sir William Beechey as to what
he should demand for it. The latter advised them to
name merely the sixty guineas which it would have
cost if ordered. The picture-dealer had not the money,
and Sir William advanced it to him, which saved the
bandage-maker from starvation. When Mrs. Coutts
returned to town, the portrait was offered to her by the
picture-dealer, but as she had already four others by
the same excellent artist . . . she declined the offer.
Here, then, was the picture, originally given away by
the painter, and now bought back again with his money.
At length, when Mrs. Coutts understood the case, she
purchased it. The picture dealer charged her seventy
guineas. Some years afterwards, the same person being
in some extra strait, wrote to his patron and supporter,
Sir Wm. Beechey, that the Matter had behaved in-
famously to him, in advancing only sixty guineas for a
picture which he had immediately resold to Mrs.
Coutts for one thousand guineas ; and that unless he
sent the applicant fifty pounds he would be shown up
all over England through the press ! ' This ungrateful
falsehood, of course, met no answer." (Mrs. C. Barron-
Wilson's "Memoirs of Miss Mellon, afterwards
Duchess of St. Albans," 1886, vol. i. pp. 280, et seq.)

Another portrait of Miss Mellon, when Mrs. Coutts,
exhibited in 1818, will be mentioned in due course.
To retui'n, however, to the Academy of 1805, in which
No. 216 was a portrait of " Mr. Penn " ; this was John

89

Penn (1760-1834), grandson of the famous William
Penn, and is a whole length (93^ by 57^ in.), in uniform
(he was captain of the 4th, or Eton, troop of the South
Regiment of Bucks Yeomanry), hessian boots, plumed
hat held by right hand, and left hand on hilt of sword,
a view of Stoke Park House, his residence, is seen in
distance to right. A critic of the time says : " This
picture is one of Sir William's best portraits : the like-
ness is striking, the colouring clear, and the figure is
well relieved from the background, which presents a
view of Mr. Penn's house at Stoke.'1 The portrait —
which is now the property of Mr. J. Merrick Head, of
Pennsylvania Castle, Isle of Portland — was engraved by
R. Dunkarton and published on March 25, 1809. A
" half-length portrait " of the Earl of St. Vincent,
No. 184, was described, after that of Penn, as the
artist's " next best, both in likeness and painting."

In 1806 a new gallery, the British Institution, was
opened up for the special encouragement of British
artists. The British Institution was not regarded
as a rival of the Royal Academy, but it served an
extremely useful supplementary purpose by exhibiting
pictures by Royal Academicians and others which were
not always up to the Academy level. The first exhibi-
tion was opened on February 17, 1806, and nearly all
the leading painters of the day were represented —
Beechey, Bone, Copley, Devis, Fuseli, H. Howard,
Lawrence, Northcote, Opie, Owen, Rigaud,Paul Sandby,
R. Smirk, Stothard, J. M. W. Turner, Benjamin West,
Westall, and Nollekens, 257 works, including paintings,

90 SIR WILLIAM BEECHEY

sculpture and enamels, were exhibited in all. The
British Institution was also supported by the most
powerful influence of the day, all the noblemen and
distinguished personages of artistic tastes being sub-
scribers. The gallery in Pall Mall had been erected by
Alderman Boydell to exhibit his famous Shakespeare
Gallery, and after doing much good work in various
ways the British Institution ceased to exist in 1867,
when the lease of the premises expired. Beechey sent
three pictures to the first exhibition, and continued to
exhibit there, off and on, until 1836. His first three
pictures were Psyche, Venus and Cupid, and A View near
Margate.

For some reason or other, not, it may be
certain the opening of the British Institution, or the
lack of suitable portraits, Beechey was not represented
in the 1806 Academy, the first time for over twenty
years. From 1776 to 1839 he had been absent from
only three of the exhibitions, 1783, 1784, when he was
in Norwich, and in 1806. There were other important
abstentions in 1806, and among others Benjamin West,
Farington, Flaxman, and Nollekens.

Turning aside for a few moments from Sir William
Beechey in particular to the Royal Academy in general,
attention may be drawn to the fact that between the
exhibitions of 1803 and 1804 the Council of the
Academy found itself in one of those quarrels which
seem to be inevitable whenever a committee is composed
of strong-willed men, each of whom aspires to dominate
the others. Beechey was a man of strong character, but

1798-1806 91

he was also a man of discretion ; although, in the various
quarrels which took place in the Academy during his
career, he took sides with the party which he considered
to be in the right, he seems to have preferred taking a
passive rather than an active part. His connection
with the Court rendered this politic. There had been
internal disputes all through the year 1803. The
President, Benjamin West, was the object of frequent
attacks in the newspapers and elsewhere. The quarrels
of 1803 appear to have originated with reference to the
government of the Academy, that is, as to the right of
the Council to have the entire direction and manage-
ment of all business of the Society — " an attempt
having been apparently made at the time to transfer
the government from the Council to the General
Assembly. "" (William Sandby's " History of the Royal
Academy," i. 265.) On May 24 the Council passed
two resolutions, denying that they were responsible
either individually or collectively to the General
Assembly for their proceedings in the Council, and
begged the President to request His Majesty to express
his sentiments on the subject for the future guidance
of the Royal Academy. These resolutions were passed
by a majority of the Council, but the subsequent meet-
ing to confirm these resolutions was postponed by the
President, and instead of it a General Assembly con-
vened, who passed on May 30 a resolution involving,
among other things, " a further consideration of the
proceedings of May 24. This proposition was moved
by G. Dance and carried, but was opposed by Wilton,

92 SIR WILLIAM BEECHEY

Rigaud, P. Sandby, Tresham, Cosway, De Louther-
bourg, and Beechey, besides five members (Copley,
Wyatt, Yenn, Soane, and Bourgeois), who, for reasons
into which we need not enter, it was proposed to
suspend."" The suspended members of the Council
appealed to the King, and in August two addresses
were presented from the General Assembly counter to
each other — the one from the majority, the other from
the minority. (Sandby, " History of the Royal
Academy," i. 266.) The King's decision was briefly
this — he disapproved the conduct of the General
Assembly in censuring and suspending the five members
of the Council, and directed that all matters relative
to these proceedings should be expunged from the
minutes of the Royal Academy. But these decisions
did not restore harmony. Among the Beechey papers
in the possession of the artist's great-grandson, Mr.
Ernest A. Beechey, there are two long and exceedingly
interesting letters (presumably unpublished) to Sir
William Beechey from J. F. Rigaud, which give a
vivid picture of the events which transpired later on
in the year — Rigaud refers to a letter of his written
on November 30, but this has not been discovered.
The Rigaud letters are as follows :

" LONDON, December 2, 1803.

" DEAR SIR WILLIAM, — I shall begin my account of
what passes in the Royal Academy where I left off
the 3Oth ult. I told you then that there had been a
Council the evening before, to determine upon subjects

ADMIRAL SIR JOHN THOMAS DUCKWORTH
From thr ftiyrarint/ l>>/ Clmrlm Ttirnrr

1798-1806 93

for the students1 sketches and other business, and that
I had that moment received a letter acquainting me
that the meeting of the Academicians to judge of the
performances was postponed. But I was unacquainted
with the motives, and of what had passed in that
Council. I have learned since that the evening passed
in debates on the President refusing to sign the minutes
of the preceding meeting, because they went to per-
petuate on the records the resolution of May 24, which
he said ought to be expunged. No business was done^
and they broke up at one o'clock. Last night I at-
tended the general meeting to receive the Address and
thanks voted to His Majesty, and prepared by the
Committee. I had the pleasure of seeing Mr. Wyatt
among us for the first time since the suspension. After
some unnecessary delay and disagreeable altercation in
which I took no part, the Address was called for on all
sides, and Mr. Lawrence got up and said that he had
been commissioned by the Committee to present and
read the Address, which he did. It was couched in so
able a manner, in such appropriate and respectful
terms, that it received unanimous approbation by a
show of hands. It was then proposed that it should
be presented by the President, attended by the Secretary.
The Treasurer was left out, which brought on a debate,
and at last his name was added to the others. The
address was then signed by the President and the
members present without any order, either of seniority
or rank in the Academy, as we waived any occasion of
dispute. So far everything passed tolerably quiet, if I

94 SIR WILLIAM BEECHEY

except a few sharp words between Mr. Copley and
Mr. Shee, in which Mr. Wyatt took a part, and was
very unhandsomely rebuked by our opponents.

" We thought the business of the evening over ; but
it was not so. Mr. Farington got up with a string of
resolutions in his hand, which he read, and proposed
should be passed and carried to His Majesty with the
Address. They contained a history of the proceedings
from the beginning of our disputes, exculpating them-
selves anew, nay, endeavouring to prove that they had
acted right, particularly in regard to the vote of ^500
to Lloyds ; supporting those sophisms by a precedent,
and quoted from the books of the Academy a similar
vote to the Bank for the services of the war some years
ago, said to have been moved by Mr. Wyatt ; and that in
the late instance, the Council being suspended, they bad
a right to vote the money, and to carry that vote up to
His Majesty for approbation.

" Poor Tresham, who was almost sinking under a very
severe illness and bodily pain, rose up indignant, and
endeavoured to show them the absurdity of beginning the
controversy again. Mr. Wyatt supported him, and
said that it was indecent to go to His Majesty with an
address of thanks in one hand and a vote of censure in
the other. Having said so much, and without waiting
for any reply, he went out of the room. I followed
him, and so did the whole of our party, a glorious
minority, consisting of seven, viz., Wyatt, Bourgeois,
Tresham, Soane, Copley, Yenn, and Rigaud. We went
to the next coffee-house and spent the evening together.

1798-1806 95

There is a Council called for this evening to receive the
recommendations for charitable purposes. If I can
get some intelligence to-morrow morning I will re-
assume my pen."

"December 5.

" I breakfasted with Mr. Yenn on Saturday morning,
but could not write till now. The Council on Friday
evening passed, as the other two had done, without any
business at all ; but was extremely tumultuous, if I may
be allowed the expression. The President said that he
was ready to sign the minutes of the last Council, and to
proceed to business ; but when the book was opened and
presented to him, it was perceived by our friends that the
minute which they had voted should remain in the book
was erased. All the indignant passions were excited,
and I am sorry to say, a great deal of invectives ensued.
The matter was sifted, and it was found out that the
books had been carried down to the general meeting
the evening before, after we had left it, and there
blotted out. Nay, it was also found out that the books
of the Council had been carried out of the Academy and
sent to the President's, who had them several days in
his possession since we had had His Majesty's most
paternal communication.

" Yesterday morning was fixed upon to present the
address of thanks to His Majesty at Windsor. Messrs.
West, Richards, and Yenn were to set off' at three o'clock
on Saturday afternoon for that purpose. I believe they
went, and that the President meant to deliver at the
same time into the King's hands those resolutions which

96 SIR WILLIAM BEECHEY

Mr. Farington had moved, but of this I know nothing for
certain. Mr. Yenn, however,declaredtothePresidentthat
he thought himself bound in duty to inform His Majesty
of everything that had passed. It will be some days
before I know the result of that trip to Windsor,
because Mr. Yenn told me that he had business at
Greenwich early this morning, and did not know when
he should be back, and as for Richards, I cannot trust
him any more ; but as soon as I know anything I shall
communicate it to you. In the meantime I must beg
the favour of you not to part with these scrawls of mine,
because they will serve to refresh my memory as to
what I have been a witness to, in case it should become
necessary.

" In regard to my prospect of success in the election
of a Keeper, I have nothing new to say ; it will depend
entirely on my friends being steady, and upon their
endeavours to procure me some additional votes, as well
as upon their actual presence at the time. I hope they
will not forsake me. The day is not yet fixed, nor any
notice taken of it, except by the candidates, who are
indefatigable in their canvass. I have received a letter
from Mr. Gilpin acquainting me that he might be
induced to give me his ball in case his friend (whom he
does not name) should not come upon the ballot. His
address is at Mr. Whitbread, M.P., Southill, near
Biggies wade.

" Be assured of my sincere affection,

"J. F. RIGAUD."

Collection A. /'is

H.H.H. 1'KINCESS ELIZABETH
Buckingham Palace

1798-1806 97

" LONDON, December 12, 1803.

" DEAR SIR WILLIAM, — I am obliged to you for your
letter, and without any preamble I shall go on with
the account of what has passed in the Royal Academy.
I believe I have already informed you that an address
of thanks had been prepared and signed by us all, and
that there was a string of resolutions to be passed after
we had left the room, and that Mr. Yenn had declared
in the Council that he considered it his duty to acquaint
His Majesty of everything that had passed. Accord-
ingly, when the day was fixed to go to Windsor (Sunday,
December 4) with the Address, he contrived to be
admitted a few hours before them and laid the matter
before the King. Then comes the President, Secretary
and Treasurer in due form and present the Address.
The King received it with great marks of approbation.
After that Mr. West begged that His Majesty would
condescend to receive a paper which he held in his
hand, and had been voted to be presented to him with
the address. The King turned to the Treasurer and
Secretary and asked when that paper had been voted ?
That he did not know of any other business that night
but the voting the address. The Treasurer confessed
that he had heard it read, but was not present when
it passed, because himself as well as several other
members had left the room thinking the business of the
evening over, and not approving the contents of the
paper intended to be passed by vote ; but he could not
tell whether that was the same paper. The King told
the President that he could not receive that paper as

98 SIR WILLIAM BEECHEY

coming from the Academy. The President begged
very hard that he would receive it ; if not as official, he
would condescend to receive it as a private paper
conveying some material information. The King then
said he would receive it as a private paper, and they
would hear from him in a few days. Accordingly, on
the Wednesday following he sent for the Treasurer to
Buckingham House and gave him a sealed paper to
deliver to the Secretary with his command to read it at
the next general meeting, which was to be the loth, the
day appointed for the election of the Officers. The meet-
ing took place accordingly, and after a few altercations
concerning some mistakes, want of order and blunders,
the President declared that the address had been re-
ceived with marks of approbation, but he had nothing
further to communicate, as His Majesty chiefly addressed
himself to the Secretary. Mr. Richards upon that
drew a paper from his pocket, which he read. It was
signed by the King both at top and bottom. It
enforced the former paper communicated to us some time
ago and of which I have given you an account. It ex-
plained it in every part. He disapproves in strong
terms of the contents of the paper which had been
presented to him with the address ; and to restore
harmony among us he desires that it may be obliterated
from our memory. He commands that the minutes of
the Council, viz., that of May 24, and another which
had been scratched out, be reinserted ; and orders that
this paper be inscribed in the minutes of the Council
for future rule of conduct, as the other was to be

1798-1806 99

inserted in the minutes of the general meeting. A
dead silence was the effect produced by the reading of
that paper, and many faces were lengthened. We
passed to the business of the evening without speeches.
The President was re-elected and the Visitors chosen.
As usual of late I was left out. There was some con-
versation passed about Mr. Zoffany being of the Council
as the rotation imports ; but his living above six miles
from Somerset House was said to be an objection by
law, and he was left out. The Council for the next
year stands thus : Turner, Soane, Rossi, Bourgeois, De
Loutherbourg, Smirke, Farington, Dance. So that the
whole power of the Academy stands now with them
and the next year's rotation will still strengthen them.
They will have an ample field for consolidating their
plan, whatever it may be, and it will be found out that
by doing our duty we have put arms in their hands to
chastise any of us, who have the impudence to oppose
them in their assumed authority before it devolved to
them by law. The office of Keeper not being annual,
there is no particular day fixed by law for the Election.
It is generally done as soon as possible after the vacancy
is declared, but it requires, I believe, one month's notice
to the Academicians to offer themselves for candidates,
and then a week's notice of the day of election, with
the names of the candidates inserted in the notice. No
mention was made of it in the general meeting of last
Saturday, so that I am in great hopes you will be in
town. I shall at any rate give you the earliest infor-
mation. Your vote and interest is very material to

ioo SIR WILLIAM BEECHEY

me. I am sorry to hear you say that you have no
friends in the Academy that are not mine, because,
though it is flattering to me, it reduces the number
very low. However, I have still some hopes, and I
shall not give up the contest; I think I stand upon
very firm ground. My enemies are divided, and very
warmly so. Farington is for Smirke, but I think he
loses ground, and likely to lose more by the rebuke
his friends must now feel that they have received.
Opie is for Fuseli, and Mrs. Opie goes about canvassing
for him, and says that they will never vote for Smirke.
Banks has a few friends. Mrs.Forster goes about to whine
for him, and some intimates of Glorne Tooch [? Home
Tooke] employ themselves also in his favour. This will
greatly divide the votes in the first instance. I have
eleven undoubted ones, and an addition of three in
the second ballot, which makes nineteen [? fourteen].
P. Sandby has received a letter from Mr. Gilpin, who
promises him his second vote for me, if the person he
is engaged for in the first instance does not come upon
the ballot. Several more may be induced to do the
same, particularly if they should happen to change
their opinion in regard to their leader. Excuse the
hurry in which the above is written and believe me,
** Yours sincerely,

"J. F. RlGAUD."

Other quarrels again broke out, and in 1805 one of
these had reached a crisis. " The differences," says one
of the papers of the period (Colnaghi Collection of

THE BLIND FIDDLER (BEECHEY CHILDREN WITH NTRSE)
I'y permission oj Mrs. F. A. Hopkins

1798-1806

Newspaper Extracts), " which have for a long time pre-
vailed among the members of this Institution [Royal
Academy], have been much lamented by every friend to
the Arts, and more particularly by those who are
acquainted with the respective parties. But the regret
arising from these differences is aggravated by the con-
sideration that they are not likely to subside, as the
supporters of both sides of the question are animated
by so firm a conviction of the justness of their cause as
to preclude all hope of an amicable accommodation.
At length Mr. West, finding the duties of the Presi-
dentship too arduous and perplexing, amidst the con-
flicts of party, has been induced to resign his office."
West was the last survivor of the four artists who, in
1768, presented his Majesty with a plan for an
Academy ; and, in a letter " To the General Assembly of
Academicians of the Royal Academy," dated Decem-
ber 2, 1805, he signified his determination to resign ;
Wyatt acted for a time as President-Elect, but in 1806
West was persuaded to again take over the duties ;
" the only dissenting voice was that of Fuseli, who, in
his usual sarcastic manner, admitted that he had voted
for Mrs. Moser, as he thought one old woman as good
as another ! " (Sandby's " History of the Royal
Academy of Arts," vol. i. p. 268.)

The long " reports " in the form of letters from
Rigaud to Beechey, quoted above, are explained by the
fact that the latter was away from London on a visit to
the Earl of Egremont at Petworth. Fuseli was at the
time a candidate for the post of Keeper of the Royal

SIR WILLIAM BEECHEY

Academy, and he appeal's to have solicited Sir William
Beechey's interest on his behalf. The following letter
(to which it is only necessary to add that Fuseli was
elected to the post in question in 1804) was addressed
by Fuseli to Beechey at Petworth :

••LONDON, December 13, 1803."

" Nothing but my absence when Sir W. Beechey's
letter arrived could prevent my immediate acknowledg-
ment : its generous contents still add to the obligations
of the first, and but for the awkwardness of a situation
which gives to expressions of that kind always a
suspicious air, would command the most emphatic
expressions of gratitude. But I should be false to
myself and unworthy of Sir William's generous though
conditional offers, if I did not endeavour to make them
as effectual as possible. Yes ; it is in his power, or I
am much mistaken, essentially to promote my career,
by recommending it, in case I should clash with his
candidate, to his friends. Who they are, or whom of
them Sir William's word might influence, it becomes
not me to say, unless I might be allowed to hint that
with Messrs. Sandby, Tresham and Wyatt, his favour-
able opinion might give me an interest which I cannot
pretend to myself. Such, sir, are the bold wishes you
have permitted me to form ; if they are improper you
will discountenance them. But be that as it may,
permit me to subscribe myself unalterably and with the
highest esteem, your most obliged and faithful servant,

" H. FUSELI."

1798-1806 103

" When the election shall come on, or why it be post-
poned, unless it be on account of several absentees
among the members, I am not competent to tell/'

An interesting and apparently unexhibited portrait
of 1806-7 may be mentioned here, a Bishop's half-
length of Vice- Admiral Sir Samuel Hood (1762-1814),
the distinguished naval hero, knighted in 1804, who
reduced Madeira in 1807, was second in command
under Saumarez in the Baltic 1808, created a baronet
1809, vice-admiral 1811, commanded in the East Indies
1812-14, and died at Madras. This portrait, although
paid for by Lady Hood, was painted for the Earl of
St. Vincent, and was engraved in stipple by E. Bocquet,
8 in. by 8 in., and published May 10, 1813, by Cadell
and Davis. It shows him to half-figure, directed to
front and looking to right, in uniform, without hat,
left hand apparently resting on hilt of sword.

CHAPTER IV

1807-1817

BEECHKY had eight portraits in the Academy of 1807.
The most interesting of these was perhaps No. 48, the
Earl of St. Vincent, of whom, as we have seen, a half-
length was in the Academy of 1805. A long series of
the portraits of naval heroes followed rapidly the
painter's successful picture of Nelson (1801). All the
captains present at the battle of the Nile were painted
for the Earl of St. Vincent ; and finally a picture of the
Earl himself, which deserves to rank with the most suc-
cessful productions of the artist. " A duplicate of this
picture, which was, if we mistake not, painted several
times, is still in Sir William's Gallery, in Harley Street.
It was lately brought into juxtaposition at the Exhi-
bition of the Society of British Artists with some of
Sir Joshua's finest works, without the injury which most
modern painters would have sustained from so invidious
a comparison'" ("Cabinet of British Art," p. 102).
Both the 1805 and 1807 portraits of St. Vincent may
have been done some time before this public exhibition.
There can, indeed, be no doubt about Beechey having
painted a portrait of St. Vincent some years before, as
one is named in a list given in " Public Characters

1807-1817

i8oo-i,"p. 353; but whether the portrait there men-
tioned is either of the exhibited pictures or another
it is impossible to say. It is stated that the portrait of
the Earl, exhibited at the Guelph Exhibition, 1891, by
the Corporation of the City of London, three-quarter
length, life size, in naval uniform, with Ribbon and Star
of the Bath, upraised sword in right hand, left resting
on a cannon (canvas 55 in. by 46 in.), was presented to
the Corporation by Alderman John Boydell* in 1793.
Another Beechey portrait of the Earl is the property
of the Fishmongers' Company (lent to the Naval
Exhibition 1891, No. 375, and again to the Naval
Exhibition, Earl's Court, 1904, No. 316); and yet
another was the property of Admiral Sir William Parker,
and was lent to the last-named exhibition by Lady
Parker, No. 379 : it shows him to waist, directed to
front, looking to left, in uniform, with Star, Order, and
sash (canvas about 30 in by 24 in.). This was engraved
for J. S. Tucker's "Life," 1844. At least three dif-
ferent portraits of the Earl have been engraved : (i) for
Cadell and Co., March I, 1809, " from the original in
Sir W. Beechey's possession, in civilian's dress, with Star
of an Order, profile, directed and looking to right, grey

* Boydell was a generous benefactor to the Gallery of the
Corporation of London, and in 1800 a whole-length portrait of the
alderman at a cost of 200 guineas was commissioned from Beechey
by the City authorities ; it is now at the Guildhall. A small whole-
length of Boydell, also by Beechey, in alderman's gown (canvas
aogxi6g), was bequeathed to the National Portrait Gallery in
November 1892 by Mr. Henry Graves, whose firm carries on the
business of print dealers and publishers established by Boydell in
the eighteenth century.

106 SIR WILLIAM BEECHEY

hair; (2) in mezzotint by Charles Turner, 22^ in. by
iM in.. November n, 1816, whole length, standing,
directed to front, in peer's robes, holding sword in left
hand, in right a scroll inscribed Naval Abuse Bill, on
table to left folio volumes and globe, warships in dis-
tance. The original of this engraving was lent to the
Naval Exhibition, Earl's Court, 1904, No. 381, by the
Lady Harris, C.I. The Fishmongers1 portrait above
mentioned, is obviously a version of Lady Harris's pic-
ture, but differs slightly in details ; e.g., instead of the
warships in the distance to left, that portion of the
picture is filled up with a view of a classical statue,
probably Hercules ; and (3) in stipple, from Admiral
Parker's picture, already mentioned, by G. Cook
(4^ in. by 3 Jin.), in an oval, directed to front and
looking to left, in uniform, 1844, and again in 1851.
There are many other portraits of the Earl by Beechey
in existence. One was lent to the South Kensington
Exhibition in 1868, No. 76, by the Rev. St. Vincent
Beechey, a bust, profile to right, in black coat, with
ribbon of the Order of the Bath (canvas 30 in. by 25 in.),
" believed to have been painted when he [Beechey] was
upwards of eighty." This is stated to have been pre-
sented or bequeathed by the Earl to his godson, the
above-mentioned Rev. St. Vincent Beechey. A replica was
in the Beechey sale at Christie's, June n, 1836, lot 55
(erroneously catalogued as Lord Nelson] , and bought in
at io£ guineas. Another was lent to the Naval and
Military Exhibition, Edinburgh, 1889, by Mr. W. E.
Malcolm, of Burncoat ; and another, in uniform, oval,

GEORGE III
By permisaion qf the Executors of the late W. L. Elkins, Esq., Philttdrlpliiu

1807-1817

the property of Mr. John Corbett, of Impney, Droit-
wich, was at Christie's on June 18, 1904. Bone exhi-
bited an enamel copy of one of Beechey's portraits of
the Earl at the Royal Academy of 1810, No. 653.

Beechey 's portrait oiH.R.H. the Duke of Gloucester
figured as No. 93 in the Academy of 1807. The duke,
like the Earl of St. Vincent and several other sitters,
must have been a profitable source of income to the
artist. Beechey exhibited four portraits of him at the
Academy, 1807, 1812, 1819, and 1825. As William
Henry, the first duke, died in 1805, these would all be
of William Frederick, second and last Duke of Glouces-
ter (1776-1834). But Beechey also painted the first
duke more than once ; one of these, a full three-quarter
length, in uniform with decorations, sword under left
arm, map in hand, was engraved under the title of
H.R.H. Prince William Frederick of Gloucester, in
mezzotint, by T. Hardy, July I, 1802 (this, or a replica
of it, was at Christie's on July 26, 1902, lot 29), and
another, in uniform wearing the Star of the Garter, a
very indifferent picture, was in the Duke of Cambridge's
sale of 1904, when it realised 21 guineas. We find from
an entry in the Account Books under date April 9, i8c8,
that two whole lengths of both dukes were commissioned
by (or for) the Committee of the London Hospital ; and
it is doubtless that of the second duke which figured in
the 1808 Academy. The Mrs. Bates, No. 8, of this
year has not been identified beyond her name. Sir J.
Earle, who figured under 37, was the eminent surgeon
(1755-1817), who wrote many books on medical science,

108 SIR WILLIAM BEECHEY

and who lived in Hanover Square ; he was president
of the Royal College of Surgeons, and was knighted in
1802. This portrait was engraved in mezzotint by
R. Dunkarton, March 10, 1810, and shows him to
waist, in plain coat and frill, curtain in background,
with medical books to left. The Countess ofBreadal-
baney No. 107, was Mary Turner, daughter and co-heir
of David Gavin, of Langton, and was married to the
fourth earl (afterwards first marquis) on September 3,
1793 ; she died in 1845. The Children of Mrs. Phipps,
No. 170, and Mrs. Langley, No. 182, probably a three-
quarters, conclude the Beechey exhibits of 1807.

Of the six portraits of 1808,* three remain anonymous.
The most important of the others was one of several
portraits of Adolphus Frederick, Duke of Cambridge
(1774-1850); it was done for the " Committee of the
Asylum." From the price entered in the Account Book,
1808, this portrait was a three-quarters ; one copy of it
was done at the same time for the Duchess of York,
for whom a second copy was made in 1811. This
portrait of the Academy of 1808 is that which was
engraved in stipple by W. Skelton, Dec. 1808 (the
engraving is of a half figure). The late Duke lent a
whole-length life-size portrait (canvas 94 in. by 57 in.)
of his father — facing, head to right, right arm resting

* " Sir William Beechey," observes a writer in one of the news-
papers, "enriches the collection with several portraits in his most
finished and animated manner. The Countess of Ormond, Lord
Mulgrave, and his Royal Highness the Duke of Cambridge are
striking likenesses, but the whole are in his highest ityle of
colouring."

1807-1817 109

on an ermine mantle on pedestal, left hand holding
dress — to the Victorian Exhibition of 1891-2, No. 109,
and this is doubtless the portrait which was at the
Academy of 1819. It was not included in the Duke of
Cambridge's sale in June 1904, where, however, there
were two small ones, both unimportant ; one of these
was at South Kensington in 1868, and at the Guelph
Exhibition 1891, and this went for 55 guineas, the
other only realised 25 guineas ; both were half figures
in dark coats, and measured 29^ in. by 24 in. The
portrait, a three-quarters, of Lord Mulgrave, No. 57,
an officer in the Army and Governor of Scarborough,
was engraved before it went to the Academy, as
William Skelton's rendering of it was published on May
4th, 1808, whilst it was on the walls of the Academy.
According to Neale's " Views " (vol. ii.) this portrait
was the property of Sir George H. Beaumont, and
hung at his residence, Cole Orton Hall, Leicestershire.
The Lady of Quality, No. 68, has been identified as
a whole length of the Countess of Ormonde, Anne,
daughter and heir of Joseph Hart Pryce Clarke, wife of
the eighteenth Earl and first Marquess of Ormonde,
whom she married in 1805 ; one of the critics of the day
pronounced the likeness " successful, but as to the rest
we must exclaim ' there is canvas to let.1 Sir William
seems lost when he goes beyond a half length," and
further, that the artist's style is " flimsy and undecided, "
and reminding him (the critic) of what Sir Joshua said
of one of Gainsborough's portraits, " very much like the
dream of a picture."

no SIR WILLIAM BEECHEY

Reverting for a moment to the British Institution,
we find that Beechey was represented at both winter
exhibitions of 1807 and 1808. Of the two in the
earlier year, one was a fancy piece, Bravery and
Humanity (38 in. by 33 in.); the motive of the
picture is sufficiently told in the words which appeared
in the Catalogue : " In the first expedition of the
British troops to Flanders, in the late war, the French
had pillaged a cottage and left its miserable inhabitants
without bread, telling them they ought to think them-
selves very well off, for the English were coming, and
would not only rob, but murder them. A party of the
Guards arrived soon after, and, on learning the treat-
ment they had received, pulled off their haversacks and
supplied them with what provisions they could spare.""
The second picture was the study of An Old Man^s Head*
which the Director, edited by T. F. Dibdin, declared
to be " one of the most spirited and pleasing of his per-
formances,'" and which, it may be added, was purchased
by the Marquis of Stafford. In the following year there
were Rustic Ruminating, 15 by 12 inches, two views at
or near Southend, Essex, a view of Leigh from the
hamlet of Prittlewell, Essex, all about 25 inches by 32
inches, and a larger picture of a Monk at his Devotions.

Quite the most important, or, at all events, the most
interesting of the eight pictures in the 1809 Academy
was that of Mr. Wilkie, No. 93. This was the young
Scotch artist, David Wilkie, who had come up to
London and entered the Royal Academy school in 1805,
and whose pictures of The Village Politicians at the

1807-1817 III

Academy 1806, The Blind Fiddler in 1807, and The
Rent Day of the Academy in which his portrait by
Beechey appeared, had created so much sensation. This
portrait shows him to three-quarter length, holding
brushes and palette, with a sketch of The Blind Fiddler
behind; it was engraved by John Young, January i,
1810, and again by H. Robinson for Jerdan's " Portrait
Gallery," 1830-45 (vol. v.). It was apparently done as
a gift to the young artist, and was in Wilkie's sale at
Christie's, 1860, when it realised 32 guineas, the
purchaser being Mrs. Hunter ; it was bequeathed to the
National Gallery of Scotland by Dr. Hunter, of
Woodbank, near Largs. Whilst this portrait was in
hand, Wilkie records in his " Journal " a visit which he
paid to Beechey on Twelfth Night, 1809 ; " We had "
(he says) " a very splendid entertainment. I there met
for the first time the too celebrated Lady Hamilton.
She had with her a girl supposed to be the daughter of
Lord Nelson, a creature of great sweetness. . . . Lady
Hamilton is lusty and tall, and of fascinating manners,
but her features are bold and masculine. Her daugh-
ter's name is Horatia Hamilton. After supper we were
entertained by some songs from Lady Hamilton."
Benjamin R. Haydon, the historical painter, makes an
interesting reference in his voluminous "Journals "to
this portrait. Writing in 1808 he says (" Autobiography
and Journals," 1853, i. 91-2): "Wilkie breakfasted
with me, and away we went to Sir William Beechey, to
get his vote for Charles Bell as professor of anatomy.
Sir William made Wilkie sit for his head : while this

H2 SIR WILLIAM BEECHEY

was performing, I went to call on Smirke, and left
Wilkie to break the matter to Sir William ; came back
and found it as hopeless with him as with Smirke."

Of Mrs. I^eds, No. 18, we know nothing, except that
the portrait was a whole length ; the picture, Mrs.
and Miss Wetherell, No. 62, is thus described by one of
the critics : " This is one of the most pleasing pictures
which this artist has ever produced. There is a peculiar
softness, a kind of feminine grace and elegance in the
composition which, without any effort or seeming labour,
fixes our attention and justifies our fullest admiration.
The background, the opening perspective,the decorations
of the work table, the employment of the two ladies,
the agreeable complacency of the countenance, their
feminine industry — in a word, every part of the compo-
sition, drawing, colour and general effect, does high
honour to the taste of Sir William Beechey .... we
will venture to assert that Sir William Beechey succeeds
better in the female figure than any painter of the day "
(The Messenger, May 1809). Another paper described
this as the best of Beechey's exhibits of the year. It
should be pointed out that Mr. Graves describes this as
a picture of Mrs. and Miss Cockerell. Two persons of
the same name, Charles Wetherell, are given by Boyle
as residing in this year in Lincoln's Inn, one at No. 3,
Lincoln's Inn, Old Buildings, and the other at No. 5,
Stone Buildings, but there is nothing to associate them
with this portrait ; on the other hand, the two ladies
may have been the wife and daughter of General
Wetherell, who sat for his portrait to Beechey in 1816 ;

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1807-1817 ii3

and the same or another daughter of the General, sat to
Beechey in 1825.

Lord Gambier, No. 71, was the famous Admiral
(1556-1833) who distinguished himself in various naval
battles and was raised to the peerage in 1808 ; this
portrait, a bust, in naval uniform (canvas 30 in. by 25 in.),
was engraved, prior to its exhibition, in mezzotint by
George Clint and was published on September 2, 1808 ;
it was again engraved by " G " Bartolozzi on February
12, 1810, in "The British Gallery of Contemporary
Portraits," and once more by W. Holl in Jerdan's
" Portrait Gallery " in 1833 ; the original portrait was
lent to South Kensington in 1868 by Admiral Gambier.
The Mr. Gambier of the same year, No. 147, is dealt
with in connection with the Gambier portrait in the
1814 Academy. As will be seen from the Account
Books, Beechey painted four Gambier portraits from
1808 to 1813.

The Nobleman and the Lady of Quality , Nos. 82 and
126, were respectively Howe Peter, second Marquess of
Sligo, who succeeded his father on January 2, 1809 (he
was born on May 18, 1788 and died in 1845) and his
mother, Lady Louisa, daughter of Richard Earl Howe ;
she afterwards married Sir William Scott, Lord Stowell,
and died in 1817. The portrait of the Marquess is an
exceedingly fine whole-length, in which he is represented
standing in a landscape directed to front and looking
to his left, wearing a black coat with gold buttons,
white cravat, white breeches and stockings, in college
gown, and black cap which is held in right hand ; in the

n4 SIR WILLIAM BEECHEY

background is a building, probably Trinity College,
Cambridge. This portrait is at Westport House, co.
Mayo, the seat of the Marquess of Sligo, by whose
permission it is here reproduced. The portrait of
the Marchioness was a half-length. "We cannot,11
says the critic of The Messenger already quoted," speak
as to the justness of the resemblance, but we will
undertake to pronounce that it is a work which deserves
to rank very high in art. The dress of the portrait
has been happily chosen for its picturesque effect — it is
a custom which comes in, we believe, between the era
of Hans Holbein and Vandyck — it was a dress invented
by the painters in the reign of James the First. This
portrait is very highly finished throughout and does
great credit to the artist.11 The dress indeed seems
to have puzzled the critics, one of whom described
it as that of Mary Queen of Scots. Unfortunately
this portrait is not now at Westport, and it is pre-
sumed to have been destroyed when the Library at
Westport was burnt out in 1825, but (assuming that the
original was destroyed) there are probably two replicas
of it, as in Beechey's Account Book under date May
22, 1818, we find that he received of " — Curzon,11
payment for two copies of the Lady Sligo portrait.
The Earl of Altamount thinks that the "Curzon " of
this entry was the Hon. Mrs. Penn Assheton Curzon,
Lady Sligo's eldest sister, and that the present Earl
Howe very probably has both replicas.

The remaining portrait of this year was of John
Ansley, a successful London merchant, a member of the

1807-1817 ii5

firm of Ansley, Lambert and Co., of 52 Bread Street ;
he was elected Alderman of the Bread Street ward, and
served as Lord Mayor in 1807-8, at the unusually early
age of thirty-two (he was born on July 9, 1775).
It was during his mayoralty that the City petitioned
both Houses of Parliament for the abolition of sinecure
places and pensions, and for Parliamentary reform,
and perhaps it was because of these petitions that he
received neither a baronetcy nor a knighthood. He
represented Bread Street ward until about 1830, when
he became the Father of the City of London. He died
at Paignton, Devon, on September 23, 1845. The
portrait was probably what is known as a " three-
quarters" (i.e., 30 in. by 25 in.) and still belongs to a
descendant, whilst a copy of it has been made in recent
years for another member of the family.

The most imposing of the 1810 exhibits was the
portrait of the Persian Ambassador, No. 42, Mirza-ab-ul-
Hassan, Envoy Extraordinary from the King of Persia
to England in 1809, and again in 1818. It is a whole
length, standing, one hand upon the hilt of his sword,
the other resting on a folded document which lies on a
red-covered table to his right ; full robe richly brocaded
with gold and reaching to the ankles, red stockings,
green morocco shoes, a high turban, a sash, and a
sleeveless outer garment of silk and fur, which comes
down to the knees, complete the costume ; behind the
right of a column is seen a sunset sky. (Canvas 93 in.
by 57 in.) It was painted for the East India Company,
and was paid for on August 7, 1810, by William Astell,

n6 SIR WILLIAM BEECHEY

M. P., a director of that company, the price being 250
guineas. It is now in the India Office (see W. Foster's
"Descriptive Catalogue of the Paintings, etc., in the
India Office,"" 1906, pp. 16-17), where some interesting
particulars of this personage are given. Beechey painted
and exhibited two portraits of the Persian Ambassador,
whose two visits to England were the sensations of the
time. The original is without doubt that now in the
India Office, exhibited at the Royal Academy in 1810.
In the exhibition of the following year another portrait
by the same artist was No. 99 ; this doubtless was the
half-length which was in the Beechey sale at Christie's,
June II, 1836, lot 60, when it was bought in at 31
guineas. It reappeared in the Beechey sale at Rainy "s,
July 19, 1839, lot 28, and then realised ^3 I2s.
Another Beechey portrait of this year of which we
know the identity was No. 113 : Mrs. Dickons as Mar-
garita, in a musical entertainment called " No Song, No
Supper," written by Prince Hoare and first produced
at Drury Lane in 1790, with music by Storace. Mrs.
Maria Dickons (nee Poole) was born about 1770, made
her ddbut at Covent Garden as Ophelia in 1793, and
played in many important parts up to nearly the time
of her death in 1833. No. 21, Portraits of a Gentleman
and his Children, was. there can be very little doubt, the
Myers family group for which Beechey received two
payments of 120 guineas on May 18 and October 4,
1809.

Although five of Beechey's exhibits of this year re-
main anonymous, we have at all events the satisfaction

HENRY MALI, AM

From " Fasti Etonienses." By permission qf Messrs. Spottiswoode ij- Co., Ltd.
Eton College

1807-1817 ii7

of having exhumed a general notice of his works in this
year's Academy. A writer in one of the newspapers
says : " Sir W. Beechey's colouring is gay ; he is less
vigorous in his marking, and in his style altogether,
than his contemporary portrait painters of distinction :
he is therefore not among the best painters of men ; but
his effeminacy of style, or rather his delicate graceful-
ness of attitude, his richness of colour, the soft tones of
his flesh, and the elegant disposition of his draperies, all
so conspicuous in Nos. 7 2 and 147, render him the ladies1
Apelles." Three distinguished artists had died in the
interval between the 1809 and 1810 Academies, John
Hoppner, Paul Sandby, and Ozias Humphry. F. Bar-
tolozzi, too, was no longer a member. Two of these,
Sandby and Bartolozzi, were Foundation members of the
Royal Academy, and of the original body only George
Dance, Mary Moser (Mrs. Lloyd), John Inigo Richards
(who died in r8io), the President, Benjamin West, and
Zoffany (who, like Richards, died in 1810) remained,
with the exception of Nathaniel Dance, who, however,
scarcely counts, seeing that he resigned in 1790. This
interval is still further noteworthy in the annals of art,
inasmuch as Wilkie, on the advice of Beechey, became
candidate at the Academy, and was elected an Associate
on November 6, 1809. In February 1811 he suc-
ceeded Francis Bourgeois as full member of the Royal
Academy.

Four out of the eight Beechey exhibits of 1811
remain hidden under the disguises of A Lady (there
were two such), A Nobleman, and A Gentleman. The

u8 SIR WILLIAM BEECHEY

most attractive of the others from a popular point of
view would have been the second portrait, No. 99, of the
Persian Ambassador already referred to, " in the dress
in which he was first introduced to His Majesty.1" The
Countess of Albemarle, No. 293, a three-quarters, was
the Hon. Elizabeth Southwell, who married in April
1792 the fourth earl, and died in 1817. No. 199 was
a whole-length of J. Egerton, Esq., M.P. who was
elected for Chester City in 1807, and again in 1812,
continuing to represent that place until 1818. John
Egerton succeeded his kinsman as eighth baronet of
Egerton and Oulton on September 23, 1814, and assumed
the name of Grey in addition to and before that of
Egerton in October 1815. He was born on July u,
1776, and died sp. May 24, 1825. Sir Henry Halford,
No. 437, was the eminent physician to George III. and
three succeeding sovereigns. He was born in 1766, son
of Dr. James Vaughan, assumed the name of Halford
on inheriting property, and acted as President of
the Royal College of Physicians from 1820 until his
death in 1844. This portrait, a half-length (canvas
40^ in. by 34 in.), was presented to the National Por-
trait Gallery in November 1896 by his nephew, the
Rev. Canon Edward Thomas Vaughan.

Beechey, in spite of his numerous engagements as a
portrait painter, continued to support the British Insti-
tution. To the 1810 exhibition he sent the large Hebe
Feeding the Eagle of Jupiter, already mentioned, and
Venus and Cttpid, a study. To the exhibition of the
following year he sent another study (same si/e, 28 in.

1807-1817 119

by 23 in.) of the latter subject. In 1812 there was
nothing by him ; but in the next exhibition he had a
fancy piece (44 in. by 36 in.), called Cottagers Returning
Thanks to Heaven for their Preservation from a recent
Storm,a.ndin 1814, Gipsies Regaling Themselves (55 in.
by 64 in.). Referring to the last-named, one of the news-
paper critics declared : " We can give no account of this
production of Sir William's pencil, for it is to us quite
unaccountable. The ass's foal in the corner of the
picture seems to have been in full training for a Prince
Regent's charger ! "

After an interval of three years, Beechey had two royal
portraits among the seven pictures in the Academy of
1812. These were the Duke of Gloucester and the
Duke of York. The first of these was the fine whole-
length life size painted for Sir John F. Leicester in 1810.
The duke is standing in a landscape, in uniform, with Star
of the Garter, right hand holding hat, left resting on
sword (canvas, 100 in. by 72 in.). It is described in Carey's
catalogue of the Leicester collection, 1819, and is there
said to "rank among the best productions of Sir William's
pencil. The head is finely painted, the figure in a bold
and masterly style, and the breadth, richness, sobriety
and subordination of the landscape background are
every way worthy of such a principle." A full-page
etching of it is given in Young's " Catalogue " of the
same collection, 1821. The portrait of the Duke of
York was probably the " head " i.e.y a " three-quarters,"
of which a version was in the Beechey sale at Christie's
on June n, 1836, lot 52, " The Duke of York,

120 SIR WILLIAM BEECHEY

painted in 1812," on which occasion it was bought in at
6| guineas ; it reappeared at Rainy "s rooms in the sale
held after the artist's death, when it found a purchaser
at .£6 153. Either this or one of the (probably many)
replicas was in Sir Robert Peel's collection, and realised
70 guineas at the Peel sale at Robinson and Fisher's
on May u, 1900. Sir Robert Preston (1740-1834),
No. 78, was the sixth Baronet of Valleyfield ; the
portrait was a three-quarter (30 in. by 25 in.) ; it was
paid for by " Mr. Brown,"" who was George Brown, of
Stockton, whose daughter Elizabeth Sir Robert Preston
married. Preston was at one time a commander in the
service of the East India Company; in 1816, he com-
missioned copies of his own portrait, of Mr. Brown,
and of Mary Preston — all three-quarters — from Beechey.
No. 1 02 was a half-figure portrait of Joseph Nollekens,
the sculptor (1733-1823), an old friend of the artist ;
its shows him looking to front, holding in his right
hand a modelling tool, and leaning his right elbow on
a table on which is a model of a monumental group ;
the portrait was engraved in mezzotint by Charles
Turner, in 1814, and again later in stipple by Holl.
It was presented to the National Gallery, in 1835, by
the Rev. R. E. Kerrick. The sculptor's eccentricities
are too well known to be dwelt upon here, but one
anecdote, related by J. T. Smith in " Nollekens and his
Times'" (vol. i. p. 365), may be quoted. "Nollekens
... I firmly believe, had no idea whatever of making
himself noticed by singularities. His actions were of
the simplest nature ; and he cared not what he said

1807-1817

or did before any one, however high might be their
station of life. He so shocked the whole of a party
one night at Lady Beechey's, that several gentlemen
complained of his conduct, to which Sir William
could only reply, * why, it is Nollekens, the sculptor ! ' '
In addition to the Turner and Hall engravings of
Nollekens1 portrait, J. T. Smith, in the above-named
work, speaks (vol. i. pp. 385-6) of another. Mr. Wivell*
published at his own expense an engraving in mezzo-
tints, from Sir William Beechey's portrait of his patron,
Nollekens, and did himself the pleasure of presenting
him with a proof impression, also indulging in the like
liberality to Mrs. Nollekens. The plate, however, did
not sell, and the engraver lost twenty-five pounds in
the undertaking. Some time after its publication,
Mr. Nollekens informed the artist [? engraver] that he
wanted an impression to give away, and after asking
the price of a proof said, " Well, I'll have a print.""
Upon its delivery he asked the price of it. " Seven
shillings and sixpence was the price I put upon it,1'
observed Wivell. " Well, then, what will it be to me ?
you won't charge me that sum,11 said Nollekens. " Oh,
sir, pray give me what you please,'1 returned Wivell,
who felt grateful for past favours. " Well, then,"
returned he, " there^ three shillings for you.11

There can be no doubt that Beechey painted more
than one portrait of Nollekens, for among the Beechey

* Abraham Wivell (1786-1849), who was successively a shoe-
maker, a wigmaker, and a portrait-painter, also invented fire-
escapes and wrote " An Enquiry into the History of the Shakespeare
Portraits."

122 SIR WILLIAM BEECHEY

papers we find the following letter, dated September
16, 1822 :

"Mr DEAR NOLLY, —

" You were so good the other day to ask me for
my terms, which I enclose. It was not my intention
to make any charge to such an old friend as you
have been, but as I do not profess to be over rich
I have, though very reluctantly, complied with your
wishes and send my card of terms ; however, my dear
friend, you will do as you like and not confine yourself
to them, but anything you may deem sufficient I shall
be satisfied with, the reason of my sending you this to-
day is because I go to-morrow morning very early into
the country, where I purpose staying a month, for I
feel myself very ill by being so long confined and very
hard worked. Lady B. and the girls send their love to
you.

" I remain, my dear Nolly,

" Yours most sincerely and faithfully,

" W. BEECHEY."

This may have been the portrait engraved for Wivell.
When on his death-bed, Nollekens was nursed by
Sir W. Beechey, and (according to a legend in the
family) the sculptor left his money to the artist,
having no children of his own ; *' but a nephew turned
up, and was much aggrieved that nothing was left to
him, a poor man, and to whom, had there been no will,
the property would have fallen. Sir William thought
it hard, called in the nephew and said, ' Look here, you

Autotype

HEBE

From thu original picture

1807-1817 123

see this will ? it shall grieve you no longer,1 and he put
it in the fire." Unfortunately for this pretty story,
there is no truth in it, as may be seen from the will and
its numerous codicils, printed at length in Smith's
" Nollekens and his Times" (vol. ii. pp. 17-29); the
numerous beneficiaries enumerated in the original will,
dated March 21, 1818, include, "my friend, Sir
William Beechey," who is down for £200 ; in a codicil
(dated December 6, 1822 ; he died on April 23, 1823),
Beechey is appointed one of the three executors with a
further gift of £100.

With regard to the other exhibits of this year,
W. Salte, Esq., No. 262, is an engraved picture (the
original is a three-quarters) of William Salte, of
Tottenham, who died in the Poultry on February 6,
1817, in his seventy-first year ; the engraving shows an
elderly man, looking at the spectator full face, seated,
holding in his right hand a paper, on which the words,
" Asylum, to meet H.R.H. the Duke of Cambridge,^
the date, April 9, 1812, and " W. Salte, Esq." are
legible; in his left hand he holds a sort of casket.
Admiral Markham, No. 299 (he was bom in 1761,
and died in 1827), was a son of the famous Archbishop
of York, and after many naval adventures and travels,
served under Lord St. Vincent at the reduction of
Martinique, 1793, and in various other engagements ;
he was also St. Vincent's colleague at the Admiralty
board, 1801-4, and for many years represented Ports-
mouth in the House of Commons. His " Correspondence ""
was recently edited by Sir Clements Markham for the

i24 SIR WILLIAM BEECHEY

Navy Kecords Society, to which is prefixed a good re-
production of Beechey's portrait, which is a half-length,
paid for in 1809. Markham's letters are exceedingly
breezy, and full of epigrammatic expressions of opinion.

The portrait painters were never more in evidence than
in the 1812 Academy, nearly every other exhibit being
a portrait. In addition to Beechey's seven, Lawrence
had eight (including Eemble in Addison's " Cato,"
Sir William Curtis, engraved by W. Sharp, and Thomas
Taylor, the famous translator of Plato and other
classics) ; William Owen, who had for some years been
portrait painter to the Prince of Wales, had six, in-
cluding J. W. Croker, M.P.,the politician, and the Lord
Chancellor ; Thomas Phillips had five ; James Northcote
had four, including the Bishop of Ely; Martin A.
Shee had seven. There were three portraits of the
Duke of Sussex, one by G. Harlow. another by S.
Drummond, and a third by J. F. Masquerir, in addition
to a miniature of him by Trossarelli. Other remark-
able features of this Academy were a portrait of
Beechey's old sitter, Mrs. Dickons, by C. Allingham ;
G. Dawe's portrait of Coleridge; L. Hoppner's
portrait of William Gifford; Benjamin West's portrait
of J. A. Wilmot, who adjusted the losses, claims and
compensations of the American Royalists; and Turner's
Oxford views.

The most distinguished personage among Beechey's
eight portraits in the Academy of 1813 was the Right
Hon. Spencer Perceval, No. 198, the eminent politician
(1762-1812), son of the second Earl of Egmont, and

1807-1817 125

who was assassinated by Bellingham, a bankrupt, in the
lobby of the House of Commons on May n, 1812 ; as
this portrait shows him holding the Regency Bill in his
right hand, it was probably painted at the time of that
Act, viz. in 1810. It was engraved by W. Skelton in
March 1813, by Picart for Jerdan's " Portrait Gallery,"
and again as frontispiece to vol i. of the " Life," 1874.
Beechey was probably not commissioned by Perceval
to paint this portrait, as there is no entry in the
Account Books to that effect; Lady Arden, the un-
fortunate Perceval's sister-in-law, purchased what would
seem to have been the original, a three-quarters, of
Beechey in July 1813 ; the Prince Regent apparently
purchased two replicas in 1816-7 » an(^ two more
were sold to "Mr. Perceval" in 1823. A version
of this portrait was at Christie's on July 13, 1901.
Beechey's portrait of Mr. Perceval, No. 356, must
have been of a relative, perhaps a nephew of the great
statesman. The artist's second posthumous portrait was
No. 221, The late Sir F. Bourgeois, R.A. There are
two versions of this portrait, both of which show him
to the waist, and are on canvas (29^ in. by 24 in.). That
at the Dulwich Gallery is probably the R.A. portrait
of 1813. On the back of the panel is painted a sketch
by Sir Joshua Reynolds of a mother bending over her
child, which lies in her lap ; Bourgeois is wearing a dark
blue coat with metal buttons, white waistcoat, and
frilled shirt, with a gold medal, the badge of the Polish
Order of Merit. The second portrait was acquired by
the National Portrait Gallery in February 1867, and

126 SIR WILLIAM BEECHEY

this may have been the picture exhibited at Suffolk
Street in 1830. One of these two portraits was engraved
by J. Vendramini for CadelPs "British Gallery of
Contemporary Portraits," 1811. Bourgeois founded
and endowed* the Dulwich College Gallery, enriching it
with the splendid collection of pictures bequeathed him
by his friend Noel Desenfans ; he was bom in 1756,
exhibited at the Royal Academy from 1779 to 1810,
was knighted by George III., to whom he was appointed
" Landscape Painter " in 1794 ; his death was caused by
a fall from his horse January 8, 1811. Sir A. Clarke,
No. 226, a whole-length portrait, in robes of the Order
of the Bath ; who was created a K.B. in 1797, was Major-
General Alured Clarke, of whom an earlier portrait was
exhibited at the Academy of 1795. One of these
portraits — it is not known which — was engraved in
mezzotint by J. Bromley in August 1833, the year
after his death ; it shows him to half length, looking to
right, hand resting on sword-hilt. Beechey's four other
exhibits of 1813 were anonymous portraits, and in-
cluded those of two gentlemen, one of a " lady of

* There is another side to this splendid gift if a statement of
J. T. Smith, "Nollekens and His Time" (vol. i. p. 378), can be
relied on. It is the often discussed one of public benefactors
acting meanly towards their nearest relatives: "I recollect
Mr. Nollekens once showing me a letter which he bad received
from Sir William Beechey ; and to the best of my recollection the
purport of it was, that the bearer of it was the niece of Sir Francis
Bourgeois, who had been walking about the streets all night with
her children for want of a lodging. Sir William applied to Mr.
Nollekens to give her a trifle, directing his attention to her miserable
looks and state of apparel."

MTSS GEORGINA HKKBKUT

/Si/ permisxion of the Her. Thnmii* Crawford, II. I).

1807-1817 127

quality,"" and the other of a Colonel of the East India
Volunteers.

In the interval between the 1813 and 1814 Academies,
Beechey had become, in addition to Portrait Painter to
the Queen, Portrait Painter to H.R.H. the Duke of
Gloucester ; and his five exhibits of the latter year
included one of the Duke of Cambridge, already referred
to. The Mr. E. Gambier, No. 94, was undoubtedly
Edmund John, the son of Samuel Gambier, elder
brother of James, first Baron Gambier (whose portrait
by Beechey was in the Academy of 1809). Edmund J.
Gambier was born at Shenley Hall, Herts, in 1794, and
after various appointments, was Chief Justice of Madras
1842-9, and received a knighthood; he died in 1879.
The portrait was a three-quarters. Reference may
conveniently be here made to the various other Gambier
portraits by Beechey. The Mr. Gambier of the 1809
Academy was a three-quarters, probably of Samuel
Gambier (born in 1752), the Baron's elder brother, who,
as will be seen from the Account Book, paid for the last
half of the portrait; the Mrs. Gambier, of the 1813
accounts (her portrait was " altered "), was probably
Samuel's wife Jane, fourth and youngest daughter of
Daniel Mathew, of Felix Hall, Essex ; Mary, of the
same year and entry, was her ninth child ; and Charles,
of the 1812 Account Book, was probably her eldest son,
Charles Samuel, born at Wateringbury, Kent, in 1790.
These portraits were all three-quarters.

P. Free, Esq., No. 160, was Peter Free, who lived for
many years at Hyde Park Place, London, and who died at

128 SIR WILLIAM BEECHEY

Brighton on November 2, 1850, aged 79 ; his portrait was
a three-quarters. Sir B. Graham, No* 183, was a whole-
length of SirBellingham Reginald Graham*(i789-i866),
the sixth baronet, whose father died when he was seven
years of age. This year Beechey broke through his
usual rule of only exhibiting portraits, by sending a
fancy picture called Hebe, to which reference has already
been made ; in Mr. Algernon Graves's annotated edition
of the Royal Academy catalogue of this year this picture
is entered as a Portrait of a Lady of Quality as Hebe.

Very few changes had taken place in the composition
of the Academy between the 1813 and 1814 exhibitions.
Edward Burch, the librarian, had retired or died ;
Edmund Garvey and James Wyatt had died, and
William Theed had been elected to one of the vacancies
and George Francis Joseph became an Associate.
Lawrence's great portrait of the year was that of Lady
Leicester, which, like five of his other exhibits of this
season, has become popularised through engravings.
Beechey's portrait of the Duke of Cambridge was next
to Lawrence's Duke of York, and that of Sir B. Graham
was next to Owen's fine portrait of the Earl of Ash-
burnham, the third earl and one of the greatest book
collectors of modern times. Northcote exhibited a
portrait of Brunei the engineer, G. Dawe one of the
learned Dr. Parr, of whom a second portrait, by J. J.
Halls, was in the same exhibition.

* No. 330 of the same Academy was a picture by H. B. Chalon,
" Portraits of two Famous Hunters and Harriers going out in the
Morning. The property of Sir B. Graham, Bart."

1807-1817 129

With one exception, Beechey 's portraits of 1815 were
of titled or distinguished people, at the head of which
was a whole length of H.R.H. Duke of Kent* (1762-
1820), the earlier and more important of Beechey 's two
exhibited portraits (the second was in the Academy of
1820) of George III.'s fourth son. It was No. 82,
and was lent by the Fishmongers' Company to the
Exhibition of " Monarchs of Great Britain " in 1901-2,
No. 1 68, and is on canvas (98 in. by 71 in.), life-size,
facing the spectator, head turned to right, in military
dress, wearing insignia of the Garter, right hand resting
on his stick, sword in left, landscape background with
castle. Skelton's engraving (19! in. by iS^in.) only
shows the Duke to half-length ; it was again engraved
by E. Scriven for Jerdan's "Portrait Gallery," 1830-4
(vol. ii.). The original, or a replica, was in the Beechey
sale at Christie's, June n, 1836, lot 64, where it was
bought in at 1 20 guineas ; at the subsequent sale at
Rainy's, July 19, 1839, it was lot 36, but was "passed."

The following letter by the Duke of Kent from the
Lodge, Castle Hill, September 20, 1814, concerns the
fine portrait exhibited in 1815 : —

* As will be seen from the Account Books, Beechey painted two
whole-length portraits for "the Freemasons" (perhaps an error
for " Fishmongers ") of the Dukes of Kent and Sussex, for which
he received payment in three instalments in January, August and
September 1815, the total amounting to 400 guineas. The two
were engraved as a companion pair by W. Skelton, that of
the Duke of Kent appearing on November i, 1815, and that of the
Duke of Sussex, in May of the following year. The latter portrait
was exhibited in 1816.

1 30 SIR WILLIAM BEECHEY

" MY DEAR SIR WILLIAM, — Agreeable to my promise
I beg to announce my intention of being with you
to-morrow (Wednesday, the 2ist instant) at the usual
hour, or as near it as possible, when I hope you will be
able to forward the picture considerably, as I trust
nothing will occur to prevent my giving you a full hour
and a half s sitting.

" In the meanwhile with best remembrance to your
son,

" I remain,

" My dear Sir William,

" Ever yours faithfully,

" EDWARD."

Beechey's later picture of the Duke was done in
1818, and this doubtless was the portrait in the 1820
Academy ; it was bequeathed to the National Portrait
Gallery in 1881 by Lord Hatherley : it is on canvas
(29 in. by 24^ in.), and shows the Duke to the waist, in
scarlet uniform, gold epaulettes, the star of the Order of
the Garter is on his left breast, an oval badge of the Order
of St. Patrick hangs by a short blue ribbon in front and
rests on the broad blue ribbon of the Garter ; a similar
picture, in "possession of the Duke of Sussex," was
engraved in octavo size by Charles Warren. The
portrait next in importance, No. 164, was of General
Sir Thomas Picton, K.B., who was born in 1758, and
who, after a distinguished career — he was thanked
seven times by the House of Commons for his services
in the Peninsula — was killed at Waterloo on June 18,

1807-1817 I31

1815. The portrait, a three-quarters (i.e., 30 in. by
25 in.), was paid by a "Mr. Picton" in February,
1816; and on February I, 1817, a "Mr. Hall" pur-
chased a copy at the same price as the original,
50 guineas ; one of these now belongs to the Duke of
Wellington, and shows him to waist, looking to left,
in military uniform ; on the back of the canvas is
written : " Painted a fortnight before his death." Yet
another version was in the Beechey sale at Christie's
in June 1836, where it was bought in at ^5 ios., but
at Rainy 's in July 1839, it found a purchaser at
.£3 ios. There are two totally distinct engraved por-
traits, with half figures, by Beechey of this gallant
officer: (i) by P. W. Tomkins for Jerdan's "Portrait
Gallery," 1830-4 (vol. ii.), in which he is looking to
spectator's right (i.e., to his left), in his military
uniform (without epaulettes), with long row of orders
and a cross suspended from his neck, and two stars of
orders on his breast ; and (2) by H. Cook, in which
he is also in military uniform, with epaulettes, with
one star only on his breast : in this he is looking
to spectator's left (his right). No. 97 was a whole-
length portrait of Sir P. Warburton, the fifth and last
baronet of Arley, who died s.p. on May 14, 1831, when
the title became extinct, his estates passing under his
will to his great nephew, Mr. Rowland Eyles Egerton-
Warburton, of Warburton and Arley. Beechey also
painted (as did Romney and Hoppner) Lady Warburton
(Alice, daughter of the Rev. John Parker, of Astle,
Cheshire), who survived her husband until September 9,

1 32 SIR WILLIAM BEECHEY

1837; this portrait, which is now at Arley, was
originally a whole length, but has been cut down ;
both portraits were painted and paid for several years
before 1815, «.£., in 1811. No. 228, S. Kilderbee, Esq., is
described in Evans's " Catalogue " as Samuel Kilderbee,
an attorney at Ipswich. As this gentleman died
in May 1813, aged eighty-seven, the portrait would
have been painted some time before it was exhibited ;
the engraving, a private plate, by W. C. Edwards,
shows the half figure of an old man directed to front,
in dark coat and white ruffle, and thin grey hair ; it
has the motto " Providentia divina Repondo." Kil-
derbee's son and namesake was a D.D. and rector of
Easton from 1817 until his death in 1847 ; his grand-
son was for many years a member of Parliament, and
married a daughter of the Earl of Stradbroke. Captain
Watson, a three-quarters, No. 305, has not been further
identified (it was paid for in January 1815, by a
Miss Ballock) ; the last portrait, also a three-quarters,
of the year, No. 311, was of Lord Maynard, Charles,
second viscount (1751-1824), and on the death of his
nephew and successor, on May 18, 1865, the title
became extinct.

Before the opening of the next year's Academy
several events of interest to artists had taken
place. First and foremost, Lawrence was knighted
(April 20, 1815); George Dawe had succeeded Henry
Tresham as an Academician ; R. R. Reinagle and
William Collins had been elected Associates and
Haeburn was an R.A. elect. Lawrence was indis-

MRS. HILL AND CHILD
By permission <y Miss Lorina J. Reevt

1807-1817 i33

putably at the head of the portrait painters, and nearly
all his portraits of the 1815 Academy were of dis-
tinguished people — the Prince Regent, H.H. Prince
Metternich Winnebourg, the Duke of Wellington
holding the sword of State on the last day of Thanks-
giving at St. Paul's; Prince Bliicher, and R. Hart
Davis, M.P., the picture collector. There was, inter alia,
another portrait of Mrs. Dickons, this time by H. W.
Pickersgill ; and also a portrait of Master E. Landseer,
by Master J. Hayter.

At the Academy of 1816* Beechey was, with
Mr. Northcote "and, we believe, Mr. Owen," the
" Pictorial Hangmen," as one of the newspapers
pleasantly remarked. Beechey's first picture was No. I
in the exhibition, a half-length portrait of the Bishop
of Chester — George Henry Law (1761-1845), an emi-
nent scholar who, after occupying the see of Chester
from 1812 to 1824, was translated to the bishopric of
Bath and Wells, which he held up to his death ;
Beechey "s portrait was engraved by Meyer, but the
plate was a private one. Lord Hill, No. 19, a whole
length, was Rowland Hill, who distinguished himself
in the Peninsular war, was rewarded with the Grand

* "We do not remember," says one of the newspapers, 4lan
exhibition in which there were so few female portraits as in the
present one. Of these Sir William Beechey has considerably the
largest number. . . . This artist appears in two or three of his
pictures to have adopted a novel style of background, particularly
in the portraits of the Duke of Sussex and Lady Bernard, the
former of which is powerfully characterstic of the wildness of
Highland scenery, and the latter of horticultural decorations in the
margin of the sea."

134 SIR WILLIAM BEECHEY

Cross of the Bath, and was elevated to the peerage as
Baron Hill on May 17, 1814; he died on December 10,
1842. Lord Hill and the lady in Beechey's next por-
trait of this year, Lidy Berwick,* No. 37, were relatives
by marriage ; she was a Miss Sophia Dubouchet before
her marriage, on February 12, 1812, to the second Baron
Berwick. Lady Bernard, No. 88, the background of
whose portrait is said, by one of the papers of the day,
to consist of " horticultural decorations on the margin
of the sea," was Charlotte Matilda, youngest daughter of
Sir Edward Hulse, Bart., and second wife of sir Thomas
Bernard, the author of several books, a philanthropist
and the chief promoter of the British Institution ; Lady
Bernard died in July 1846, and her portrait, nearly
full-length (55in. by 43in.), which shows her seated in a
landscape under a tree, in striped brown dress with a
white fichu at the neck, was in the James Price sale at
Christie's on June 15, 1895, when (catalogued as of
Lady Barnard), it realised the high price of 1180
guineas. The portrait of H.R.H. the Duke of Sussex
(of whom, as we have seen, Beechey exhibited an earlier
work in the Academy of 1801), No. 112, was the com-

* It is curious to note that whilst Beechey's Account Book of
this period does not contain any reference to a portrait of Lady
Berwick it contains two entries in connection with her. In
November 1815 she paid the first instalment for a half-length of
Lady Bosworth (£50), and the payment by Lord Berwick on February
5, 1816, of .£55, would appear to complete the purchase. Strictly
speaking there would be no Lady Bosworth in 1816; the Barony of
Bosworth, created in 1687. was merged into Berwick, and both these
creations became extinct in 1695. The barony of Berwick was
revived in 1784 in favour of Noel Hill, Esq.

1807-1817 i35

panion to that of the Duke of Kent in the previous
year's Academy, and was a whole length in Highland
costume ; this is the portrait engraved by W. Skelton
in May 1816, to half-length only ; a replica was in the
Beechey sale at Christie's, June n, 1836, lot 63, when
it was bought in at 1 25 guineas ; at Rainy's in July
1639 (i*1 the catalogue of which it is described as "extra
whole length ") it was " passed." No portrait of this
size of the Duke has yet been traced. Lady Owen, No.
1 29, was Charlotte, daughter of the Rev. J. L. Phillips,
and first wife of John Lord, who took the surname of
Owen and was created a baronet on January 12, 1813 ;
they were married in 1800, and Lady Owen died on
September, i, 1829; from the Account Book it would
seem that Lady Owen's portrait was first intended to be
a three-quarters, as the first payment was 25 guineas, or
one-half; on July 16, 1816, a further sum of 50 guineas
was paid. In 1821 Beechey painted a three-quarters of
Sir J. Owen, but this was not exhibited. Beechey's
final exhibit of this year, No. 334, was of the Hon.
Captain Peachey : " whilst Lieutenant of the Cornwallis
on March 1810, having been all night in pursuit of a
National brig corvette, seen the day preceding, dis-
covered her at the break of day in the distance."
Captain Peachey was Henry John, eldest surviving son
of John Peachey, second Baron Selsey, and was born
on September 4, 1787, he succeeded his father in the
peerage on June 27, 1816. Beechey also painted at the
same time a portrait of Lord Selsey's only surviving
daughter, Caroline Mary Peachey, who was born May

136 SIR WILLIAM BEECHEY

24, 1790, and who married August 19, 1815, the Rev.
Leveson-Venables Vernon, son of the Archbishop of
York ; both portraits were whole lengths. The Selsey
barony became extinct in 1838.

One would have expected the Academy of 1816 to
have been strong in what may be described as reflections
of the titanic struggle which culminated at Waterloo,
but, curiously enough, the only member of the Academy
to approach the subject was S. Drummond, A.R.A.,
with a picture of The Battle of Waterloo, on the eve of
the i8th. From J. Gandy, also an A.R.A., there was a
design of " A proposed town residence for the Duke of
Wellington, surrounded by villas and dwelling-houses,
forming a circus and trophied garden, corresponding
with the plan made for the Mary-le-bone park estate by
late G. White, Esq., in 1809, and now improved by J.
White, j unior." This is one of the innumerable ;schemes
for a Wellington residence which remained in the embryo
stage. Another interesting feature of this year's
Academy consisted of two portraits, by G. H. Harlow,
of Northcote and Sir W. Beechey. Shee had a portrait
of Lieutenant-General Sir Thomas Picton, and Lawrence
had portraits of J. J. Angerstein, the picture collector,
of the Bishops of London and Durham, the Duke of
York and Major-General Sir H. Torrens. Edward Bird
and John S. Copley appeared for the first time as
R.A.s, and the new Associates were William Mulready
and John Jackson.

With regard to Shee's portrait of Sir Thomas Picton
above mentioned, the following letter to Sir William

1807-1817 i37

Beechey and the draft of his reply cannot fail to be of
interest :

MY VERY GOOD FRIEND SIR WILLIAM, — As I understand
I have been much indebted to your kindness in providing
a distinguished place for Sir Thomas Picton's portrait
[R.A. 1816, No. 6] in the present arrangement, so I
feel very reluctant to add to the weight of my obliga-
tions. I beg therefore to withdraw the request with
which I troubled you some days since, on the subject of
Mr. Oben's drawing* and remain with every proper
feeling of your liberality.

" Your most obedient and very humble servant,

" M. A. SHEE."

Beechey 's draft of reply is written at the back, and
is as follows :

" MY VERY GOOD FRIEND SHEE, — I certainly meant
you every kindness and am glad that you afford me
such distinguished credit in the present arrangement.
The idea of any weight of Obligation is between us, a
Farce ; we of course assist one another whenever we
can. Respecting Mr. Oben's drawing you are the best
judge, and must act as you please; being unwell at
home I committed it to Northcote, to whom referring
you, I remain, with every proper feeling of your
liberality,

" Your most obedient very humble servant,

"W. B."

* J. G. Oben's drawing, View of Gltndalagh, the valley of the Seven
Churches, County of Wichlow, on St. JCeven's Day, was No. 391 in the
Academy of 1816.

138 SIR WILLIAM BEECHEY

In selecting pictures for the 1817 Academy, Beechey
again chose one which would appeal, as that of Captain
Peachey of the previous year had appealed, to the
popular imagination, and this was No. 200, Lord
Exm&uth) " towards the close of the evening, ordering
sails of the Queen Charlotte to be hauled in, in conse-
quence of the burning of an Algerian vessel imme-
diately under her stern." This is the picture engraved
by Charles Turner, and published in April i, 1818
(33^ in- by i6£ in.), and again on a much reduced sale
for Brenton's "Naval History," 1823. The original
portrait is a whole length, slightly larger than life ;
the Admiral is standing on his quarter-deck, bare-
headed, with a telescope in his right hand, and the left
raised as if encouraging his men, with ribbon and
insignia of the Bath and several foreign orders
(canvas 109 in. by 71 in.). The present owner of the
original picture is not known to us, but a replica
of it was presented to the India Office by the Earl
of Hardwicke in 1901. The original or a replica
formed lot 62 in the Beechey sale at Christie's, June II,
1836, where it is thus described : " Lord Exmouth, at
the battle of Algiers, giving orders to take in the
sails — whole length » full of character and admirably
painted ; " it was bought in at 58 guineas. It re-
appeared at the Beechey sale atRainy's, July 19, 1839,
lot 26, where it is described as " extra whole length,"
and where it sold for 36 guineas. The battle of
Algiers took place in August, 1816 (when three
thousand Christian slaves were rescued from the Dey),

THK HON. LOUISA HOARE

/ill jicriiiinsioH of Col. If. A'. L. Kutl

1807-1817 139

so that Beechey, ever alive to the value of actualities
in art, again scored first, for, with the exception of a
View of the commencement of the attack in Algiers,
by H. Parke, Beechey's imposing portrait was the only
picture of the year which could be associated with the
recent events in Algiers.

His first picture in the Catalogue of this year is
No. i, Portrait of Master Brooks, a child three years of
age, as St. John; this was painted in 1814, and from
the price paid for it, 1 20 guineas, it would have been
in a half-length canvas, and one of the three payments
describes it as " a naked boy as St. John." No. 36,
Portrait of a gentleman, has not been identified ; No. 49,
the Marchioness of Hastings, was Flora Countess of
Loudoun in her own right. She married on July 12,
1804 (and died on January 8, 1840), the first Marquess
of Hastings, " a gallant soldier, an eloquent senator,
and a popular statesman " ; she appears in Beechey's
Account Book as the Countess of Loudon and Moira,
1816 ; the portrait was a whole length. The Marquess
of Anglesea (or, rather, Anglesey), whose portrait,
No. 103, was a three-quarters (he again sat to Beechey
in 1820 for another portrait of the same size), was one
of the distinguished heroes of the Peninsular War, and
was at the head of the United British, Hanoverian, and
Belgian horse at Waterloo ; he was created Marquess
of Anglesey in July 1815. The portrait was engraved
in stipple by H. Meyer (from a drawing by J. Jackson)
for Cadell's " British Gallery of Contemporary Por-
traits,11 March 21, 1817, and this was repeated by I.

1 40 SIR WILLIAM BEECHEY

Thomson in the European Magazine, October 1821.
The engraving shows the Marquess to the waist only,
in peer's robes, with star of an order suspended from
the neck ; he is directed to left, the head turned, looking
at spectator. No. 173, Portrait of Lady Arbuthnot
and family, was the picture of the wife and family of
Sir Robert Arbuthnot (1773-1853), the soldier, for
many years aide-de-camp to Beresford ; he was fourth
son of John Arbuthnot of Mayo, and brother of the
Right Hon. Charles Arbuthnot ; his wife was a
daughter of William Vesey, Esq., of Fairmill, Ireland.
Beechey painted a three-quarters of Col. Arbuthnot in
1814 which was purchased on December 16, for Lord
Beresford, with two three-quarter portraits of Blticher
and the Hetman Platoff. Mr. Skdton and Colonel Grey,
a three-quarters, were two other portraits of this year ;
of the latter a replica (if not the original) was in the
Beechey sale of 1836, when it was bought in for

CHAPTER V

1818-1838

A FEW interesting changes in the composition of the
1818 Academy had been effected: John Jackson and
Henry Raeburn appear for the first time among the
Academicians, and William Theed and Samuel Wood-
forde no longer figure in the list. The new Associates
were Edward Hodges Baily and Abraham Cooper.
Beechey 'a "terms" had undergone frequent revision,
and the more numerous his clients the higher his prices
became. About 1818 his prices, according to one of
his Note Books in the Library of the Royal Academy,
were thus : Head (or three-quarters), 60 guineas ; Kit-
cat, 90 guineas; half length, 125 guineas; Bishop's
half length, 150 guineas; ditto, containing the whole
figure, 1 70 guineas; whole length, 250 guineas; extra
ditto with robes, etc., 300 guineas. Half price was to
be paid at first sitting. Beechey had in 1818 become
portrait painter to the Duchess of Gloucester, as well
as to the Duke and the Queen ; and his eight portraits
of this year included one of his new patroness, No. 62.
Beechey had also painted the first Duchess of Gloucester,
Maria Walpole, the illegitimate daughter of Sir Edward
Walpole : she married first on May 15, 1759, James,

i42 SIR WILLIAM BEECHEY

second Earl of Waldegrave (who died in 1763), and
secondly on September 6, 1766, William Henry, Duke
of Gloucester, brother of George III., and died on
August 23, 1807. She was painted by Reynolds and
by Gainsborough (whose splendid portrait of her sold
for 12,000 guineas in the Cambridge sale). Beechey's
portrait was an unimportant one, and shows her late in
life, in black and white dress, with black head-dress
(canvas 29^ in. by 22 £ in.), and was purchased at the
Duke of Cambridge's sale on June n, 1904, lot 71, for
60 guineas by Sir Faudell Phillips. The Duchess of
the 1818 Academy was Princess Mary, daughter of
George III., who was born in 1776, married July 22,
1816, her first cousin, William Frederick, second and
last Duke of Gloucester; she survived her husband
many years and died on April 30, 1857. The portrait
does not appear to have passed with the other Glou-
cester property into the possession of the Duke of
Cambridge ; at all events it was not included in the sale
of 1904. It is a whole length, on a Bishop's half-length
canvas, and shows her seated, looking to front, a land-
scape with Windsor Castle in the distance to right ;
she is wearing a low, dark dress with white stripes,
pearl necklace, with pearl band in her hair, and holds a
fan. It was engraved in mezzotint by W. Say,
March 22, 1819.

Perhaps the two portraits in this exhibition which
attracted the most notice were those of Mr. and Mrs.
Cvutts (Nos. 33 and 153) ; that of the former was
lent by the Baroness Burdett-Coutts to the Guelph

MASTER IDLE

Itij permissiim of Mrs. Oscar Leslie Stephen

1818-1838 143

Exhibition of 1891. Thomas Coutts (1738-1822),
founder and for many years sole partner of the great
banking house of Coutts and Co. in the Strand, had
married, as we have seen (late in life and as his second
wife), the beautiful Miss Mellon, the actress, in 1814.
He was then seventy-five years of age and his bride was
about thirty-seven ; the marriage excited a vast amount
of interest — it gave the caricaturist and satirist a text of
which they fully availed themselves — but the only result
of it all was to strengthen the mutual attachment, and
when Mr. Coutts died he left his widow the whole of
his property, which amounted to about ^900,000. The
portrait of Mr. Coutts, a half figure, life size, to left,
head nearly facing, black coat (canvas 30 in. by 24. in.),
was engraved by R. W. Sievier in 1822, and also by
Scriven. The portrait of Mrs. Coutts of this year, as
that of 1805, was a whole length ; that of her which
the Baroness Burdett-Coutts lent to the Guelph Exhibi-
tion in 1 89 1 shows her no longer the " slim" beauty of her
early theatrical triumphs, but a substantial and hand-
some woman of middle age — to half figure, life size, red
dress cut low, the right hand raised with the index
finger extended. This portrait was engraved by
T. Woolnoth as a book illustration, May II, 1822.
No. 46, the Right Hon. Lord ErsTcine^ was the first
baron (1750-1823), who, starting life as a midshipman
was successively an officer in the army, a barrister and
intimate friend of Sheridan and Fox, became Lord
Chancellor of Great Britain, one of the greatest advo-
cates in the history of the English bar. He was painted

144 SIR WILLIAM BEECHEY

by Reynolds, Lawrence (this was at the Royal Academy
of 1802), and Hoppner, all three of which were
engraved. Beechey's portrait of the Lord Chancellor
late in life has not been exhibited since 1818, and it has
not been engraved; it was a three-quarters, and was
painted for Mr. Coutts. Nothing for certain is known
of W. Leake, Esq., No. 86, and the portrait is not even
mentioned in the Account Book ; but he was probably
William Leake, the well-known lawyer of 27 Sackville
Street, London, and Putney Heath, solicitor to the Noel
family (among many others), and this explains the two
entries in the Account Book, 1820, May 24 and July 22,
in which " Mr. Leake " pays for a three-quarter portrait
of Sir Gerard Noel, father-in-law of the Mrs. Noel of
this same year's Academy.

Admiral Sir George Campbell, No. 137, was another of
Nelson^s distinguished officers (he was rear-admiral in
1801, K.C.B. 1814, G.C.B. 1820, and died in 1821),
and was second in command of the fleet during the
blockade of Toulon 1803-5 ? this portrait, a Bishop's
half-length, which was engraved by William Ward,
January 15, 1819, shows him to three-quarter figure,
standing, looking to front, in naval uniform with collar
and star, right hand holding hat, left on hilt of sword.
Mr. Ernest Beechey has permitted us to print an
interesting letter (in his collection) from Eustatia Lady
Campbell, wife of the Admiral, and the letter is quite
well worth quoting at full length. It is as follows :

1818-1838 145

" PORTSMOUTH, September 13 [1817].

" MY DEAR SIR WILLIAM, — I begg'd the admiral to let
me answer your kind letter as I am the person most
interested. I am rejoiced to find the Plate is in such
forwardness — I rather pique myself on the patience I
have exerted — but I feel it nearly exhausted. If it were
possible to increase my anxiety to have the Portrait,
the innumerable persons expressing the greatest admira-
tion of it both as a painting as well as a most faithful
resemblance, would add to that anxious wish. I do
assure you without flattery I have never known any
Portrait so much admired for such combination of
various merit — such perfect excellence. Very many are
almost as impatient as myself for the engraving to be
finished, and if Mr. Ward would make it known that
he is making an engraving from your excellent
Performance he would soon find it a very popular Print.
If I recollect right, the Proof Engravings were to be two
guineas the print, and we desired to have eighteen. As
the Admiral does not know Mr. Ward's Christian name,
he has taken the liberty of drawing the bill in favour
of yourself, and trusts you will forgive his troubling
you ; and may we beg you to tell us if our memory has
been correct or if more is due for the Engravings.

" When Mr. Ward has finish'd with the Portrait we
will be very much obliged if he will have a packing case
made for the Picture and have it very carefully packed
and sent down here. ... I am certain you will forgive
all this trouble, for I know you are very good and you
know I am very anxious and very nervous about this

K

146 SIR WILLIAM BEECHEY

delightful Portrait. The Admiral desires his sincere
and best regards and I cannot say with how much
Respect, Esteem and Gratitude,

I am, my dear Sir William,

Yours ever most sincerely,

EUSTATIA CAMPBELL."

To return to the other exhibits of 1818 : Mrs. Rttey,
No 214, was the artist's daughter. Mrs. W. Noel, No.
315, was Anne, daughter and heiress of Joseph Yates,
Esq., of Clanna Hall, Gloucestershire ; she married on
May 20, 1817, the Hon. William Middleton Noel,
younger son of Sir Gerard Noel Noel, .and died
October 6, 1851. The picture, the property of Colonel
W. F. N. Noel, of the Great House, North Nibley,
near Dursley, is a fine whole length, on a Bishop's half-
length canvas (60 in. by 48 in.), in low white dress
with necklace seated near a balcony on which her right
arm rests, the hand resting against her face, her left
hand resting on her lap and holding a spray of flowers.
This portrait is here reproduced by kind permission of
Col. Noel, to whom we are also indebted for an
illustration of his second Beechey, the Hon. Louisa
Elizabeth Noel, daughter of Sir Gerard Noel; she
married in 1807 William Henry Hoare, of the well-
known firm of bankers, and died in 1816.

Some of the more interesting of the pictures by other
artists in the 1818 Academy included Wilkie's finished
sketch of the Scott Family, Lawrence's portrait of the
Duke of Wellington " in the dress that he wore and on

1818-1838 147

the horse he rode at the Battle of Waterloo," Turner's
pictures of Raby Castle, the Earl of Darlington's seat,
the View of the Dort Packet-boat from Rotterdam
becalmed, and The Field of Waterloo, with a stanza
from " Don Juan " as a legend. There were also busts by
Chantrey of John Rennie, Nollekens, the late Francis
Homer, M.P., Benjamin West, and Sir Joseph Banks.

Beechey had four pictures hung at the British
Institution of this year — Meg Merrilies (33 in. by 40 in.),
a half crazy sibyl or gipsy woman in Scott's " Guy
Mannering," and concerning which one of the newspaper
writers said that it " perhaps embodies the idea of that
extraordinary character as completely as the act is
capable of doing ; " The Evening Star (38 in. by 45
in.), St. John in the Wilderness (72 in. by 72 in.), and a
view of the Sandbrook Chalybeate. The second of
these appears to have attracted the greater amount of
notice ; two lines from Ossian are given in the catalogue :
" Star of the descending night ! fair is thy light in the

West!
The waves come with joy around thee, and bathe thy

lovely hair."

One of the newspapers of the day thus comments on
the work : " A picture which excites extraordinary atten-
tion here on account of the novelty and singularity "of
the subject is the Evening Star of Sir William Beechey.'
After quoting the above lines from Ossian the critic
goes on to say : " It is conceived in a truly classical
taste, the star is personified by a beautiful female
rising from the bosom of the ocean."

148 SIR WILLIAM BEECHEY

The large picture of St. John in the Wilderness was
probably an elaboration of that of Master Brooks in
the 1817 Academy. Beechey was not again represented
at the British Institution until 1821, when he sent one
of his numerous Hebes, this time a canvas 125 in. by
95 in. This is probably the picture to which one of the
papers referred when it stated that " Sir W. Beechey is
painting a beautiful picture of Hebe, as large as life, on
a canvas of considerable dimensions, for the next exhibi-
tion at the Royal Academy."

The Academic body of 1819 showed the average
number of changes. Chantrey was the only additional
name which appears in the list of Academicians, and no
new name appears in the list of Associates ; but among
the new list of honorary members there were the Lord
Bishop of London as Professor of Ancient Literature,
William Mitford as Professor of Ancient History, and
Samuel Lysons as Antiquary. Beechey's eight portraits
included those of three Royal personages — his official
patron the Duke of Gloucester, the Duchess of Cambridge
and Princess Augusta. The first of these three portraits
was the Bishop^ half-length, of which a mezzotint en-
graving was published by W. Say in March 1819, and
which shows the duke seated, in uniform with star.
The portrait of the Duchess of Cambridge (H.S.H.
Augusta Wilhelmina Louisa Princess of Hesse, born
July 25, 1797, married May 7, 1818, and died April 6,
1889) was the whole length, life-size portrait, her right
arm resting on ermine mantle on pedestal, left hand
holding dress (canvas 94 in. by 57 in.), which the first

tf Cit.

H.R.H. THK DUKE OF KKXT

NatioiKil I'ttrlrait (Inllery

1818-1838 149

duke paid for in 1818, and which the late Duke of
Cambridge lent to the Victorian Exhibition in 1891-2.
It was in connection with the first two of these three
portraits that the artist received the following letter,
dated:

" CHELTENHAM, July 12, 1818."

" DEAR SIR WILLIAM, — The Duke of Gloucester has
desired me to thank you for the letter he has this
morning had the pleasure of receiving from you and
instructed me to call upon you with the amount of his
pecuniary debt when I return to Town.

" Mr. Joseph* of course cannot have the Portrait of
the Duchess until your son [probably George Beechey]
has finished the copy for Mrs. Hastings. And as he
has also two other copies to make you must arrange as
suits his convenience and your pleasure with respect
to Mr. Say* and Mr. Joseph. But His R.H. will wish
the two pictures to be sent Home by Christmas.

" His R.H. desired me to offer you his best regards,
and I request of you to believe me always,"

" Very faithfully yours,

" EDMUND CURREY."

The portrait of King George the Third's second
daughter, Princess Augusta, is doubtless the three-
quarter length portrait of her with a landscape

* The reference to Say was of course in connection with the en-
graving mentioned on p. 148, but that to " Mr. Joseph" is enig-
matical. G. F. Joseph, R.A., had himself a portrait of the Duke in
the Academy of 1818, and he may have received a request from
some one to make a copy of Beechey's portrait.

150 SIR WILLIAM BEECHEY

background, in yellow silk dress trimmed with white
lace, large white hat with feathers, pulling a
glove on her right hand (canvas 56 in. by
40 in.), which was in the Duke of Cambridge's sale
at Christie's on June n, 1904, lot 70, when it was
purchased by Mr. Hodgkins ; it was engraved by S. W .
Reynolds and S. Cousins, March 8, 1824, "from the
original picture in the possession of H.R.H. the Duke
of Gloucester," and practically all the Gloucester pro-
perty was inherited by the Duke of Cambridge. The
portrait of the Vice Chancellor, Sir John Leach,
No. 266, a three-quarters, shows him in black coat,
and was exhibited at South Kensington in 1868, by
Mr. Thomas Leach. The Vice Chancellor, son of a
Bedford coppersmith, was born on August 28,
1760, entered the Middle Temple in 1785, and was
called to the Bar five years afterwards; he sat in
the House of Commons for Seaford in 1806, and
after becoming Vice Chancellor of England, in 1818,
and Master of the Rolls and Deputy Speaker of the
House of Lords in 1827, died on September 16, 1834,
a striking instance of the manner in which ability may
triumph over obscurity of birth. Hugh Leicester, Esq.,
No. 57, was Hugh Leycester, who, after being educated
at Eton and King's College, Cambridge, became Judge
of Assizes for Carnarvon, Anglesea, and Merioneth,
M.P. for Milborne Port, and died in Spring Gardens,
London, in 1836. This portrait is doubtless the half-
length painted for Mr. Ashton Smith, M.P. Leycester
made an important speech against Whitbread's motion

1818-1838 151

for an impeachment of Lord Melville, although a fort-
night afterwards he brought the matter again before
the House of Commons by moving, as being most
consistent with the spirit of the Constitution, " That
the House should proceed by impeachment against
Lord Melville, for the several matters and offences
which appeared by the tenth report to have been com-
mitted by him,1' a motion which was carried by a
majority of twenty-three. Owen's whole-length por-
trait of the same gentleman, in the Academy of 1817
(No. 109), was painted for the Mayor and Corporation
of Chester, and engraved by S. W. Reynolds, August
20, 1817. Lady Stanley, No. 205, was Mary, only
daughter and heiress of Sir Carnaby Haggerston, Bart.,
wife of Sir Thomas Stanley of Hooton (whom she
married in 1805; she died in August 1857); the
portrait was a half-length, and a companion to the
portrait of her husband, painted at the same time.
No. 299 was a three-quarter portrait of James Fer-
srusson, who died in St. James's Place, London, on
September 6, 1820, in his eighty-fifth year; he was in
the House of Commons as M.P. for Aberdeenshire
from 1790 to the time of his death ; his seat was at
Pitfour, near Slains Castle, " with a noble view of the
coast from Peterhead along the shores of the Moray
Frith." This portrait was engraved (a private plate)
by William Ward in 1818, and shows him to half-
figure, directed to right, facing and looking down-
wards, and wearing a dark coat.

The Academy of 1820 contained nearly 200 fewer

152 SIR WILLIAM BEECHEY

exhibits than that of the previous year, only five of
the Academicians — Bone, Chantrey, Phillips, Stothard,
and James Ward — availing themselves of their privilege
of exhibiting eight works each. Lawrence had only
five, and Beechey six. The changes in the body of the
Academy were few but important. Sir Thomas Law-
rence had succeeded the venerable Benjamin West as
President; Edward Bird, R.A., died in 1819, and
William Hilton had taken his place. Among the
Associates the names of Washington Allston, "of
Boston, North America,'" and John Constable appeared
for the first time, whilst William Collins and Abraham
Cooper were " R.A. Elect." Beechey's only royal por-
trait this year was that of the Duke of Kent, No. 82,
which does not seem to be entered in the Account Book,
but his son George Beechey sent one of the Duke of
Gloucester. Lady De La Warr, No. 23, was Lady
Elizabeth Sackville, younger daughter and co-heir of
John, third Duke of Dorset ; she was born on August
n, 1795, married, June 21, 1813, George John, Earl
De La Warr, was created Baroness Buckhurst on April
27, 1864, and died January 9, 1870. She had been
painted as a little child in a beautiful group with her
brother and sister, by John Hoppner, and this picture
is now at Knole. Beechey's portrait of her shows
nearly the whole figure (50 in. by 40 in.), technically a
whole-length on a half-length canvas, seated near a
column, in dark low-cut dress, with white muslin
sleeves, dark hair, and long pearl necklace ; a group of
trees is seen in the distance to right. The picture

1818-1838 153

was until lately in the possession of the present Earl,
and has been acquired by Messrs. Dowdeswell and
Dowdeswell ; it is signed and dated, " W. B., 1822."
The post-dating is probably explained by the fact
that the portrait was returned to the artist for the
purpose of making some slight alteration.

Cecil Forester and Lady Catherine Forester, Nos. 100
and 198, two whole lengths, were husband and wife ; the
former was Cecil Weld Forester,* who inherited the
Shropshire estates of his uncle Brooke Forester, and was
elevated to the peerage as Baron Forester of Willy
Park, co. Salop, on July 17, 1821 ; he married on
June 1 6, 1800, Katherine Mary, second daughter of
Charles, fourth Duke of Rutland, and died in 1828;
I^ady Katherine survived her husband only a few
months, dying on March 10, 1829. Lady Hariett
Clive, No. 346, a three-quarters, the youngest daughter
of Other Hickman Windsor, fifth Earl of Plymouth ;
she was born on July 30, 1797, and married, June 19,
1819, the Hon. Robert Henry Clive, the second son of
Edward, Earl of Powis, and succeeded to the Barony

* Cecil Forester was one of the members for Wenlock, Shrop-
shire. " This gentleman," says the author of a curiously interesting
little work, " Memoirs of Eminent English Statesmen," 1806, "is
said to possess a moiety of the property of this borough, which is
the first that ever sent Members to Parliament by virtue of a Charter
from the Crown (temp. Edw. IV.. 1478), and he now sits for the third
time in Parliament. In 1803 Mr. F. voted in favour of Mr.
Calcraft's motion for going into a committee on the establishment
of the Prince of Wales ; which question was lost by a minority of
45. We believe that the Member for Wenlock has never yet
spoken in the House."

154 SIR WILLIAM BEECHEY

of Windsor in October 1855 ; she sat to Beechey just
before her marriage, and died on November 9, 1869.
This year's exhibition included Henry Bone's enamel
of " His late Majesty, after a picture by Sir W.
Beechey, R.A., in the late Lord Somervi lie's collection,
in which the horse is painted by J. Ward, Esq., R.A."
(No. 490). Probably the picture of the year, taking
popularity as a criterion, was Wilkie's The Reading
of the Will, inspired by a passage in " Waverley," and
this was bought for the Royal Gallery at Munich.

At the 1821 Academy Beechey had only five exhibits,
and of these one was a fancy subject, The Bird's Nest,
No. 90, and another, which to some extent falls into the
same category, a Portrait of a Lady in the character of
Una, No. 34. The identity of the latter is revealed in the
Account Book, in which we have two entries concerning
the payment by Mrs. Meyrick for the portrait of Miss
Fuller as Una; the price of 170 guineas was Beechey's
charge for a Bishop's half-length canvas containing the
whole figure. This Miss Fuller was one of the daughters
of Augustus Elliot Fuller, Esq. of Rosehill, Waldron,
whose eldest son succeeded to the Meyrick estates in
Anglesey, and this portrait is| probably now at the
family seat at Bodorgan. The Hugh Leicester, No. 334
of this year, is obviously intended for Hugh Leycester,
of whom a portrait was exhibited two years previously,
as already mentioned. Beechey painted three portraits
of Leycester in 1819-20 ; the first was a half-length for
Mr. Ash ton Smith, 1819, and was doubtless the portrait
exhibited in that year; the second was another half-

f

LADY ANTD CHILD AS CUPID

(PROBABLY LADY BKKCIIEV AND CHILD)

Ry permiKition qf ff. Ur. Hallam, Esq.

1818-1838 i55

length for the Marquess of Anglesea and paid for in
November 1819 ; and the third was a three-quarters, and
paid for by himself in February 1820. One of these
three portraits — it is not certain which — was engraved
by Charles Turner in mezzotint and published on
February I, 1822 : this print shows the figure to half
length, wearing a dark coat buttoned, with large lappels
and broad collar, white neckerchief, scanty grey hair,
curtain background. A gentleman who has not been
identified, and one, a three-quarters, of the Earl of
Ailesbury (Charles Bruce, second Earl, born February
14, 1773, succeeded his father in 1814, created Marquess
of Ailesbury July 17, 1821, and died January 4, 1856),
conclude Beechey's exhibits of this year, which obviously
was an unimportant one for him. As an exhibition the
Academy of this year appears to have been a remarkable
success. "The fifty-third exhibition of the Royal
Academy " (says one of the newspapers of this time)
" closed on Saturday last. The money paid at the doors
since the opening this year has exceeded that of any
former exhibition by at least one thousand pounds."
If Beechey himself was represented by fewer works than
usual, the numbers were at all events kept up to the
average by his son George, who had three portraits
hung: those of J. Tullock Osborn, the Countess of
Waldegrave, and the Earl of Sheffield, all of which are
probably now ascribed to his much greater father.

By the time of the opening of the 1822 Academy
various changes had taken place. E. H. Baily, Richard
Cosway, and Joseph Farington no longer appear in the

156 SIR WILLIAM BEECHEY

list of R.A.s, and Richard Cook is the only new name
whilst C. R. Leslie and George Clint were elected to fill
up vacancies in the body of Associates. Beechey's
exhibits this year were again only five in number, but
one of these was of more than ordinary importance ; it
was a picture of H.R.H. the Duchess of Kent and the
Princess Alexandrina Victoria, No. 66. The Duchess
was the daughter of H.S.H. Francis Duke of Saxe-
Coburg-Saalfield, was born in 1786, married on July
n, 1818 Edward Duke of Kent, fourth son of
George III, and died on March 16, 1861. The Princess
(born in 1819, ascended the throne in 1837, and died in
1901) was afterwards Queen Victoria. The full descrip-
tion of this interesting work is as follows : Three-quarter
length life-size of the Duchess seated to right on a sofa
black dress ; book in right hand, left arm encircles the
Princess, in white dress and blue sash and standing on
the sofa, facing and holding a miniature of the Duke in
her hands ; architectural and landscape background ;
canvas 56 by 44. This picture was the property of the
King of Belgium, and was given by him to Queen
Victoria, who lent it to this exhibition at South
Kensington, 1868, and to the Victoria Exhibition of
1891-2, when it figured as No. I. It is now at Windsor,
and was etched by W. Skelton, whose rendering of it
has frequently been repeated, e.g., in Karslake's series
of "Twelve Portraits of Her Majesty," 1897. An
enamel of it (loj in. by 8J in.) by H. Bone was exhibited
at the Royal Academy of 1824, No. 432. An interesting
letter concerning this picture is now the property of

1818-1838 157

Mr. Ernest Beechey. Captain Conroy, writing from
Kensington Palace on May 22, 1821, is " commanded
by the Duchess of Kent to return him Her Royal High-
ness's best thanks for his letter of yesterday" and to say
that "on Monday next at one o'clock H.R.H. will be
ready to receive Sir William ; the Duchess regrets being
obliged to delay it to that day, but at this moment the
Princess Victoria has a slight cold." Beechey received
210 guineas for this picture, which is painted on a
Bishop's half-length canvas.

The Rev. Dr. Pigot, who figures first (No. 27) among
Beechey's exhibits of 1822, was William Foster Pigott,
of Abingdon Pigotts, Cambridgeshire, a D.D. and F.A.S.,
who was appointed chaplain to the King in 1793, was
rector of Mereworth, Kent, and Clewer, Bucks ; he died
at Mereworth onFebruary5,i827,agedseventy-nine years.
This portrait was engraved by William Ward A.R.A.,
and shows Dr. Pigott to half figure, facing towards and
looking to front ; the engraving was exhibited at the
Academy of the year following that in which the
portrait appeared (No. 483). The picture, a three-
quarters, was painted several years before it was
exhibited, the two payments being entered in October-
November 1816. Sir Alexander Cochrane, No. 95, was
the distinguished naval officer, a younger son of the
eighth Earl of Dundonald ; born in 1758, he entered
the navy and served in the West Indies 1780-2, in
1804 he was promoted to rear-admiral, to K.B. in 1806,
admiral 1819, was commander-in-chief at Portsmouth
in 1821, and died in 1832. An engraving of this por-

158 SIR WILLIAM BEECHEY

trait, done by Charles Turner for Captain Brenton's
" Naval History,"" August 1824, shows the admiral at
half-figure, directed to right, looking at spectator, in
naval uniform with Order and sash, no hat, left hand
resting in waistcoat ; the original or a replica was in
the Beechey sale at Christie's, June II, 1836, lot 37,
and realised 17 guineas.

Sir John Beresford, No. 238, was another distinguished
naval officer (born in 1766, and died October 2, 1844),
Vice-Admiral of the White, K.C.B., G.C.H., &c., and
was created a baronet on May 21, 1814. The mezzotint
engraving by Thomas Hodgetts, February 1828, shows
the Admiral to half-figure, directed to front and looking
up to left, in uniform with sash, and various orders and
decorations, no hat. A replica (" a head," or three-
quarters, i.e., about 30 in. by 25 in.) was in the
Beechey sale of 1836, when it was bought in at seven
guineas; it was subsequently offered in the sale at
Rainy 's in July 1839, when it found a purchaser at
thirteen shillings.

Beresford portraits form a somewhat conflicting
chapter in Beechey 's career. The portrait j ust described
was probably that for which Sir John Beresford paid
.£75 in 1822. In 1814, Beechey painted for Sir John
Beresford a whole-length portrait of Lady Beresford
and Child ; but this lady could not have been the first
wife of the famous vice-admiral, as she died in July
1813, and he did not again marry until August 17,
1815. In 1817, he painted a three-quarter canvas of
Captain Beresford and Sisters, and the identity of these
is unsettled. The engraved picture known as Adoration

GENERAL VISCOUXT LAKE AND HIS SON

By permission of Sfiijor John Colin minflnir

1818-1838 159

is said to be an idealised portrait of Miss Georgina
Beresford. Lord Grantley has, at one of his country
houses, a small picture of Miss Beresford, in Empire
dress, whilst a portrait of Miss Elizabeth Beresford,
afterwards Mrs. Ladbroke, was exhibited at the
Academy of 1836, and will be duly referred to. In
addition to all these, the following letter (in Mr. Ernest
Beechey's collection) deals apparently with portraits
which are not entered in the Account Books :

" HALIFAX, NOVA SCOTIA, October 10, 1819.

" DEAR SIR, — I am induced to trouble you with a
few lines in consequence of the following paragraph
extracted from a letter lately received by Mrs. Beres-
ford. * Mrs. Knight asked me if Mr. Gilby had ever
received the portraits, as Sir W. Beechey had heard
nothing from any one since they were sent, and has not
been paid.1

" I feel assured that it is unnecessary for me to enter
into any fuller explanation on this subject than to
request that, however this mistake may have originated,
you will have the goodness to have it removed, and I
will beg the favour of you to address a line to him also.
The safe arrival of the portraits in Yorkshire would
have been communicated, had not Miss Coltman long
ago written us word that she had made you acquainted
with their having been received at Beverley and highly
esteemed.

" Mrs. B. desires I will present her best compliments.
" I remain, dear sir, yours truly,

" W. BERESFORD
(Lt.-Col. and Deputy Quartermaster-Gen.)

160 SIR WILLIAM BEECHEY

Beechey's last picture of the 1822 Exhibition, No.
288, was " Venus and Cupid — Cupid having lost his
arrows, etc., at dice with Ganymede, is reproved by
Venus — see * Prior's Poems.' "" The artist, as we have
seen, exhibited three pictures of " Venus and Cupid " at
the British Institution, 1806-1811 ; and this picture of
1822 is probably another version of that which he sent
to the British Institution of 1824, No. 50, with the
slightly altered title of Venus chiding Cupid Jar having"
lost his bow and arrows with Ganymede, at hazard (from
Prior's " Cupid and Ganymede," p. 75). The size of the
picture is there given as 42 in. by 36 in. This is
probably the picture now at Pet worth (" Catalogue of
Pictures at Petworth," 1856, No. 58), Lord Leconfield's
seat, and concerning which A. A. Watts says, in " The
Cabinet of Modern Art," 1836, p. 104 : " The Cupid
and Psyche " [i.e., Venus and Cupid] in the same gallery
(Petworth) is perhaps one of the most graceful and
beautifully coloured of Sir William's pictures. The
head of Cupid was painted from the portrait of Master
Locke, the magnificent portrait of whose aged mother,
by Lawrence, attracted so much attention in the
exhibition of the Royal Academy two or three years
ago [i.e., 1829]."" One of the chief art events of 1822 was
the knighthood, conferred on August 29 by George IV.,
of Raeburn, President of the Scottish Academy and first
portrait- painter to the King in Scotland. Beechey sent
him his congratulations, and the following letter is an
acknowledgment :

1818-1838 i6i

" EDINBDRGH, Sept. 7, 1822.

"Mv DEAR SIR, — Yesterday I had the pleasure of
your kind letter, and do assure you that the hearty con-
gratulations of my friends, among whom I have much
reason to rank Sir W. Beechey, have not been less
acceptable to me than the honour which His Majesty
has been pleased to confer upon me. Accept my best
thanks for your kind wishes, and allow me to add that
I have never forgotten the liberal manner in which you
were pleased to talk of any little merit I may possess,
even long before I had the pleasure of knowing you
and also since has reached my ears from different
quarters. But this is just what I woujfl expect from
Sir W. B. — an able artist himself and far above that
little jealousy which sometimes enters into the feelings
of artists of inferior note. I need not say that you
have always had my best word and my best wishes in
the fullest sense of the word. Our friend Wilkie is
here — to whom I have sent your letter ; he leaves this
[place] to-day and by him I send this letter.

" Ever yours,

" HENRY RAEBURN."

Of Beechey's seven portraits in the Royal Academy
of 1823, the names of only two are known, both of
which are given in the catalogue, No. 29, Mr. Symmons,
and No. 439, Mr. Ward. The latter was John Ward,
an attorney (1756-1829). The picture was engraved
" at the expense of his friends by Henry Meyer from a
painting by Sir W. Beechey, R.A."" (size 5^ in. by 4$ in-)>

i62 SIR WILLIAM BEECHEY

and shows half figure of an elderly man directed to
right, looking at spectator, dark coat buttoned, white
waistcoat and frill, with hair thin and grey. The
original picture was a three-quarters, as a companion to
one of Mrs. Ward, painted at the same time. In 1825
a Mr. Ward again appears in the Account Book, this
time for a Kit-Cat size portrait ; there is, however,
nothing to suggest that the two Mr. Wards were one
and the same person. The " Mr. Symmons " was
probably John Symmons (1781-1842), a distinguished
classical scholar and translator, son of Charles Symmons,
the biographer of Milton, whose portrait by Beechey
was in the Academy of 1794 ; this portrait of 1823
does not appear in the Account Book.

The Academy of this year was in many ways an
interesting one. Nollekens the sculptor was dead, and
a portrait painter of great talent, Henry W. Pickersgill,
was the new Associate. Lawrence^s exhibits included
the portraits of the Earl of Hare wood, the Archbishop
of York (the Hon. Edward Venables Vernon), Sir
William Knighton — the first and third have been
engraved — the Chancellor of the Exchequer, Mr. Van-
sittart, and the Countess of Jersey. There were also
Wilkie's portrait of the Duke of York and his " Parish
Beadle " ; Lonsdale's portrait of W. Roscoe, Northcote's
" Miraculous Draught of Fishes," and Joseph's portrait
of T. Bayley, the poet.

Of the six exhibits of the following year (1824),
again the identities of only two are known — Sir George
Cockburn, K.G., C.B., No. 64, and T. Lowndes,

1818-1838 163

No. 124. The former, like two of the officers whose
portraits were in the 1822 Academy, was a distinguished
naval man, and was both Admiral of the Fleet and
Major-General of Marines. He was born on April 22,
1772, made a K.C.B. in 1815, and conveyed Napoleon
to St. Helena, of which place he was Governor, 1815-16 ;
he succeeded his brother as eighth baronet in 1852, and
died on August 19, 1853. This portrait, a whole length,
was presented to Greenwich Hospital by Sir James J.
Hamilton, Bart., in 1876. Thomas Lowndes, a wealthy
London merchant, who died at Macclesfield on November
13, 1835, aged 68, was a generous patron of Beechey,
who in 1823 not only painted the above whole length,
but also one of Lowndes1 father, and in 1824 one of his
daughters, Miss Lowndes, the Lowndes payments
amounting to ^546, in addition to " a present to Sir
William " of 50 guineas in December 1823. These
portraits have not been traced.

With one exception (No. in, Portrait of a Lady)
the names of Beechey's six exhibits of 1825 were stated
in the catalogue, and nearly all were well-known people.
Elisha Dehague (No. 7) was the town clerk of Norwich,
where he was born on May 16, 1755 ; he died on
November 1 1, 1826, and this portrait, painted " at the
request of his friends, and paid for by public sub-
scription," is referred to in the obituary notice of
Dehague in the Gentleman's Magazine of December
1826. The Lady and Daughter of Sir R. P.
Jodrell, Bart. (No. 92), were Amelia Caroline King,
whom Sir Richard married on December 12, 1814 (she

164 SIR WILLIAM BEECHEY

died on January 18, 1 860), and her only daughter,
Amelia Vertue, who married in July 1842 Charles
Fitzgerald Higgins, of Waterloo Park, co. Mayo ; from
the two payments of 125 guineas each in 1824 and
1825 this picture would be a whole length. No. 97
was the fourth portrait of the Diike of Gloucester,
which the artist had exhibited at the Royal Academy
within the space of eighteen years, and it is probably
the one (three-quarters length to right, in robes with
the collar and George) which W. Say engraved in mezzo-
tint in January 1826. No. 194 was Philip Meadows
Martinean (1752-1829), surgeon to the Norfolk and
Norwich Hospital ; it was engraved by Lupton, but
the engraving has become scarce, and no example
of it is in the Print Room of the British Museum.
Another distinguished native of Norfolk figured under
No. 283, Charles Savitt Onley, third son of Robert
Harvey, Mayor of Norwich; he was a barrister, Re-
corder of Norwich, chairman of the Norfolk County
Sessions, M.P. for Norwich in 1812, and twice for
Carlow. In 1812 he took the surname of Savill
Onley, his mother's maiden name ; he died on August
21, 1843. This portrait is now the property of
Colonel Unthank of Intwood Hall, Norwich (Mrs.
Unthank is a granddaughter of Mr. Savill Onley), and
shows the subject seated at a table with the draft of a
Parliamentary Bill in his hand, on which is the date,
'* 1 1 March 1825 " ; the canvas is 50 in. by 40 in. We
may here mention a second Beechey portrait in Colonel
Unthank's collection, viz., a portrait of his mother,

Man sell

PORTRAIT OF A CHILD ("LITTLE MARY")
In the Collection of Henry J. PJungst, Esq,

1818-1838 165

Marian Muskett, only daughter of Joseph S. Muskett,
of Intwood Hall, Norwich, and wife of Clement Un-
thank ; she is painted as a girl of thirteen years of age,
in white dress with blue sash and coral necklace, holding
in her lap a little pet spaniel ; the canvas is 30 in. by
24 in. As Dehague, Martineau and Onley were Norwich
men, it will be seen that Beechey still kept in active
touch with the city which had for him so many early
associations and ties. This is, curiously enough, con-
firmed by the entry in the Account Book, March 1 2,
1825, in which it is stated that the first instalment
for the Onley portrait was paid at Norwich ; the por-
trait was a half length.

Three of the five exhibits of 1826 (two were portraits
" of a lady ") were of eminent men. The Rev. Dr.
Martin Davy, D.D., F.A.S., F.R.S., No. 85 (whose por-
trait is at Heacham Lodge, Norfolk), was a physician
and Master of Caius College, Cambridge, from 1803 to
1839, the year of his death, Prebendary of Chichester,
and Vice Chancellor of the University in 1803 and
1827 ; he was born in 1763. Sir George Nayler,
K.T., K.G.H., K.T.S. (No. 104), was distinguished in
another manner, being one of the most eminent
genealogists of his time, holding in this respect many
high appointments; he was born about 1764, knighted
in 1813, and died in 1831, after commencing
a sumptuous work on " The Coronation of King
George IV.," 1824. The Beechey portrait was engi'aved
by E. Scriven (" a private plate," according to Evans),
and the engraving shows the subject to half length

i66 SIR WILLIAM BEECHEY

directed to right, looking to front, and wearing three
decorations; the plate measures 16^ in. by i.-' in.
An enamel of the portrait by J. Lee was exhibited at
the Royal Academy of 1843, No. 494. Sir John
Douglas Astley, Bart., M.P. (No. 131, a Bishop's half
length), of Enerley, Wilts, was born June 27, 1778,
created a baronet in August 1821, and died January 19,
1842. His grandson was the famous sporting baronet,
Sir John Dugdale Astley.

With the 1822 Academy Sir William Beechey began
to again exhibit an occasional fancy picture ; his first
exhibit of this year, No. 86, Lilian, was inspired by a
passage in the " Lord of the Bright City," p. 73.

" Up the maiden gaz'd,
Smiling a pale and terrified delight,
And seem'd for that lov'd warbler in her breast
Beseeching mercy."

There were only two named portraits (the third was a
portrait of a gentleman) in this year's exhibition,
No. 152 was of Captain Charles Marsh Schomberg,
R.N., who was born in 1779, and who served in the
Minatour at the battle of the Nile, and in the
Foudroyant in Egypt ; he was promoted captain in
1803, and was in command of the frigate squadron
which fought a squadron of French frigates off the
coast of Madagascar, February 20, 1811; appointed
commander-in-chief at the Cape of Good Hope in 1832,
he was made K.C.H. in the same year, and died in 1835.
This portrait was lent to the Naval Exhibition of 1891,

1818-1838 i6y

No. 590, by General G. A. Schoniberg, C.B. ; a study
for, or a replica of, it was in the Beechey Sale at
Christie's, June n, 1836, lot 41, when it was bought
in at £6 i6s. The second portrait was of Major
Henri/ Dundas Campbell, of the 8th Regiment of
Dragoons (Hussars), and now belongs to his nephew,
Captain Corse Scott, of Highfields, Southampton.

The 1828 Academy included two portraits of distinctly
personal interest. The first of these (No. 1 1 ) earned
the fancy title of The Little Gleaner, and was of the
artist's daughter Anna Dodsworth Beechey ; it had
been painted some twenty years before it was exhibited,
and a description of it, with some interesting particulars,
will be found further on in the chapter dealing with
the Beechey family and their portraits. No. 60 was of
I^rd Grantley (Fletcher Norton, third Baron), who had
three years previously married Sir William's daughter
Charlotte ; Lord Grantley's portrait is a whole length,
in robes. Beechey had painted the first baron (1716-
1789), the eminent lawyer who was elected Speaker of
the House of Commons in 1769; this portrait, a three-
quarter length, seated, profile to right in Speaker's
robes (canvas 56^ in. by 44 in.), was an early work, and
was lent to the South Kensington Museum in 1786,
No. 638, by his nephew, the third baron, Beechey's son-
in-law. The Bishop of Bath and Wells (No. 146) was
Dr. George Henry Law, of whom Beechey exhibited
another portrait at the Academy of 1816. Another dis-
tinguished churchman of the 1828 Academy was Dr. John
Lamb (1789-1850), D.D., who was educated at Corpus

1 68 SIR WILLIAM BEECHEY

Christi College, Cambridge, of which he was master from
1822 to 1850, and of which college he wrote a continua-
tion to Masters's " History " ; the portrait is now at the
Master's Lodge of the College. A portrait of an
officer (No. 51), one of A Lady of Quality (No. 87),
and one as Flora — one of at least two painted as such
— conclude the 1828 exhibits. The last of these may
have been a portrait of Julia, daughter of the Hon.
William Wyndham, and wife of Richard Haster, Esq.,
of Aldingbourne, Sussex (whom she married in April
1830); if so, it must be identical with the portrait ot
Mrs. Haster as Flora now at Petworth, Lord Lecon field's
seat.

Four portraits and a fancy subject formed the artist's
exhibits at the 1829 Academy, at which, it may be
mentioned, Etty first appears as a fully -fledged
Academician and G. S. Newton as an A.R.A. Captain
Usher, No. 15, was doubtless one of the several officers
of this name who figure in the Army Lists of the period
but his exact identity remains unsolved.

No. 43 had for its title The Lady in St. Swithirfs
Chair, from the first volume of " Waverley," with the
following lines :

" Is it the moody owl that shrieks ?
Or is it that sound betwixt laughter and scream
The voice of the demon who haunts the stream ?

The lady in the picture is the Hon. Mrs. Norton, the
Sappho of her day, the " Byron of modern poetesses,"
the fairest of the " Three Graces," as the three

1818-1838 169

daughters of Thomas Sheridan were called. Mrs.
Norton's career is too well known to be entered into
here. It may, however, be mentioned that she married
(July 30, 1822) George Chappie Norton, a barrister,
and a " selfish, worthless, indolent sensualist ; " he was
the younger brother of the second Baron Grantley,
who, dying without issue, was succeeded by his nephew,
the eldest son (the husband of Beechey's daughter)
of the talented Mrs. Norton. The picture belongs
to Lord Grantley, and is thus described in the
Gentleman's Magazine of June 1829, p. 539 : " It
represents a lady attired in a white under dress, with
robe of yellow, and a black bodice, leaning on one side
of the stone chair and looking with stifled fear and
forced courage to the spot whence the sound comes. In
her hand she holds a crucifix, and her brows are
admirably drawn together. In the air appears the
Spirit of the Stream — one of the Macbeth tribe of
witches, with haggard face, ferret eyes, hood and wan."
A picture with the same title but with another quotation
was exhibited by Beechey at the British Institution in
1830, No. 52, the size being given as 114 in. by 76 in.
The two exhibits were, it may be assumed, the same
picture. Charles Dumergue, Jun., Esq. (No. 208),
was the son and namesake of an eminent surgeon who
practised in New Bond Street, London, in 1790, and
who removed to Albemarle Street in 1818, where he
remained for many years — either the father or the son
was there in 1831, according to Boyle's " Court Guide.1"
The portrait of E. H. Batiy, R.A., No. 301 — the

170 SIR WILLIAM BEECHEY

sculptor, born at Bristol, 1788, studied under Flaxman,
elected A.R.A. in 1817 and R.A. 1821, died May
22, 1867 — was a complimentary one, Baily's bust of
Beechey having been exhibited at the Academy of 1826,
No. 1095 ; the portraits were doubtless exchanged, and
Baily's bust of Beechey is now the property of the
artist's great - granddaughter, Mrs. Commeline, of
Beaconsfield Rectory, Bucks. Beechey's portrait of
Baily was engraved as a private plate. The Rev.
Charles Este, whose portrait (No. 444) was the last of
the Beechey exhibits of 1829, was, there can be little or
no doubt, a cleric who, like " Parson Bate,1' combined
the two callings of church and journalism ; he was one
of the reading chaplains at the Chapel Royal, White-
hall, and a contributor to both Tfie Morning Pout
and The World (which he edited for a time) ; he wrote
"My Own Life/' 1787, a "Journal"" of his travels
on the Continent in 1793, find died in 1829, at the age
of 76.

The 1829 Academy was the last at which Sir Thomas
Lawrence acted as President, and his death on January
7, 1830, involved the election of a new President,
the ballot showing the following result : — Shee, 18 ;
Beechey, 6 ; Wilkie, 2 ; Phillips, I ; Callcott, I.
(C. R. Leslie, ** Autobiographical Recollections, 1860,
vol. i. p. 1 8). Beechey would have made an admirable
President, but his advanced years were against him,
and so his younger rival and friend was elected to the
highest distinction possible in the world of English art.

Two of Beechey 's seven pictures in the 1830

MRS. MARSHALL

By permission of .Mcnnrn. P. and I>. Colimglii (in<l O».

1818-1838 171

Exhibition were anonymous ones of gentlemen whose
names have not been obtained. No. 40 was Psyche,
which, with other compositions of the same name,
are dealt with together on pp. 84-5. The Duke of
Somerset, No. 47, was Edward Adolphus, eleventh
duke (he was born in 1775, succeeded to the title in
1793, and died in August, 1855), and the portrait was
an " extra whole length," in robes ; a replica of it
was in the Beechey sale at Christie's, June n, 1836,
when it was bought in at 18 guineas ; at the sale at
Rainy's on July 19, 1839, lot 32, it was "passed.11
The Bishop of Ely (No. 156) was Bowyer Edward Sparke
(1760-1839), Dean of Bristol and Bishop of Chester in
1809, and of Ely in 1812 ; this picture was engraved in
mezzotint by G. H. Phillips, and published in June
1829, nearly twelve months before it was exhibited,
and may be the Bishop's half-length of Dr. Sparke,
which appears in the Account Book under the dates
March 9, 1815, and January I, 1817. The engraving
shows the Bishop to nearly whole length, seated, in
robes and wig, directed to left, looking at spectator,
right hand on top of folio volume which rests on his
knee ; landscape and pillar background. Bishop Sparke
was a Cambridge man, and so also was Beechey^ No.
193, Joshua King, Esq., Fellow of Queen's College,
Cambridge ; this portrait was " presented by the
undergraduates of that College to be placed in their
hall.11 King was President of the College 1832-57.
No. 232, The Late Chicheley Plowden, Esq., was Richard
Chichele Plowden, of Ewhurst Park, near Basingstoke,

172 SIR WILLIAM BEECHEY

a director of the East India Company from 1803 to
1830 ; he died in January 1830, and the portrait is
now the property of his great-grandson, Mr. Alfred
Chichele Plowden, the metropolitan magistrate ; in the
Account Book of 1819 two payments are entered
for ** the Miss Plowdens two in one picture, half-
length."

Beechey's most important contributions to the 1831
Academy were a pair of companion whole-length por-
traits of the King and Queen, William IV. and Queen
Adelaide, both painted for the Trinity House, the
King being Master of that corporation. He also
painted two large pictures of William IV., one a whole
length in his robes, and the other an extra whole length
in his robes on the throne, and of each of these
a replica was in the artist's sale at Rainy's, July 19,
1839, lots 41 and 42, but both were ;< passed," the
former having been bought in at Christie's on June n,
1836, at 135 guineas. He also exhibited two other
portraits of his Majesty at two successive Academies —
one in 1832, No. 197, and the other in 1833, No. 71.
One of these may be the portrait which the Baroness
Burdett-Coutts lent to the Naval Exhibition of 1891,
No. 379. The portrait of The Queen, Amelia Adelaide
Louisa Theresa Caroline, eldest child of George, Duke
of Saxe-Coburg-Meiningen (she was born in 1792,
married the Duke of Clarence in July 1 8, 1818, and
died December 2, 1849), was engraved by S. W.
Reynolds, and the first state of the engraving is dated
May 27, 1831, so that the picture was engraved before

1818-1838 173

it was hung at the Academy ; the engraving, of which
there were two plates, one whole-length, standing,
facing front, pearls in hair, pearl brooch at bosom,
black velvet dress, long lace scarf, and the other with
the Queen to waist ; the latter plate is dated 1 834, and
both are described in Mr. Whitman's admirable mono-
graph on S. W. Reynolds. In 1834 Lupton engraved
a portrait in mezzotint of the Queen after Beechey,
half-figure, in dark velvet dress cut low, with broad
white muslin collar, four rows of pearls in her hair, and
long necklace. Beechey doubtless painted a number of
replicas, probably with variations both in details and in
sizes of the whole length, of which a full-sized duplicate
of the whole-length, " in blue velvet dress, holding a
bouquet," was bought in at the Beechey sale at
Christie's on June n, 1836; at the sale at Rainy's in
1839 it sold for 10 guineas. William F. Norton, Esq.,
No. 127 in the Academy of 1831, was doubtless William
Fletcher Norton, a neighbour of the artist, with a town
house at 66 Harley Street, and a country one at Elton,
near Bingham, Notts ; the name suggests that he was
a relative of the Grantley family. The Late Lord
Mayor, No. 177, was John Crowder, whose year of
office (1830) seems to have been one of an uneventful
character, since he is not even so much as mentioned in
Walford's " Old and New London."

In addition to the portrait, already mentioned, of the
King (William IV.), Beechey's five exhibits at the 1832
Academy included a companion pair of portraits (Nos.
87 and 216) of Viscountess Hood and Viscount Hood.

174 SIR WILLIAM BEECHEY

The Viscount Hood at this date was Henry, second
Viscount (1753-1836), who succeeded to his father's
dignities in January 1816 ; his wife, whom he manned
in 1774, was Jane, daughter and heir of Francis
Wheler of Whitley, and died on December 6, 1847.
S. B. Mash, Esq., No. 254, was probably identical with
the T. B. Mash of the Lord Chamberlain's Office,
Stable Yard, St. James's, mentioned in Boyle's " Court
Guide" of 1831; and No. 476, Dr. Ashburne, may
have been intended for Dr. Ashbumer, of 5 Wimpole
Street.

Beechey had only two pictures in the 1833 Academy,
the third one of The King (No. 71), and one of
the Bishop of Chichester (No. 213), Dr. Edward Maltby
(1770-1859). The latter portrait is a three-quarter
length to left, standing, in robes, a book in his left
hand and his glasses in his right, on canvas 56 in. by
44 in., signed with the artist's initials, " W. B.," and
date " 1832 " ; it was exhibited at South Kensington in
1868, No. 429, by the Bishop of Durham, and was
engraved in mezzotint by T. Lupton in September 1834.
A portrait of George Maltby, father of the Bishop, and
painted in 1785, is at the Durham University. In 1833
Beechey also exhibited at the British Institution a
fancy picture which he called A Sketch from Nature
(34 in. by 27 in.), which represented, according to the
Gentlemans Magazine, "a gipsy encampment," and
was " painted with much interest and truth. It is a new
line for the pencil of the veteran artist, and the essay is
a very successful one.""

1818-1838 175

The first of the five portraits of 1834 was No. 20,
Miss Horne, daughter of Sir William Home (1774-
1860), Attorney-General to Queen Adelaide, Solicitor-
General, knighted in 1830, and Master in Chancery
1839-52. Sir William Home was a neighbour of the
artist, living at 49 Upper Harley Street. Writing to
the artist's son, the Rev. St. Vincent Beechey, at Hilgay
Rectory, near Downham, on March 15 [1834], " C. H."
says : " I had the pleasure, a little while since, of seeing
Sir W. Beechey in apparent good health and spirits ;
he was painting a very nice portrait of the present
Attorney-General's daughter, Miss Home, and seemed
to be enjoying his employment in all possible comfort,
by the drawing-room fire, and as earnest in the business
as if he were only bordering on 30, instead of 80. We
have not, as yet, had the pleasure of seeing either him or
Lady Beechey at dinner, but they promise as soon as Sir
Wm.is more decidedly recovered they will give us a day."
Nos. 87 and 308 of the same Academy were portraits
respectively of Miss Wilkins and Archdeacon Wilkins
The archdeacon was George Wilkins (1785-1865),
younger brother of the well-known architect, William
Wilkins, R. A., the friend of Beechey ; he was educated
at Caius College, Cambridge, and was appointed Arch-
deacon of Nottingham in 1832. Miss Wilkins was
doubtless his daughter. As far back as 1813 Beechey
had painted a half-length portrait of William Wilkins
(1778-1839), and this is now the property of the
architect's great grandson, the Rev. W. H. Wilkins, of
St. Silas1 Vicarage, Penton Street, London. In 1816

176 SIR WILLIAM BEECHEY

Beechey made a copy of this portrait for Mr. Wilkins ;
and in 1 824 he made " a copy of Mrs. Wilkins and
child for his [i.e., William Wilkins's] sister. Mrs.
Harkness, No. 162, remains for the present unidentified
beyond the name.

With one exception (No. 323, GirTs Head) the six
exhibits are named ones. No. 67 was Mrs. Herbert
N. Evans; No. 160 of Sir Charles Scudamore (1779-
1849), physician to Prince Leopold of Saxe-Gotha,
knighted in 1829, and the author of medical works.
Miss Emma Robarts was probably Emma Roberts
(No. 208), the authoress, who died in 1840, and who
wrote a number of works on India, where she for a time
resided. No. 370 was the artist's own daughter, Mrs.
Innes, to whose portrait reference will be made later on.
Mrs. Charley Storer was No. 392.

The first of the five Academy pictures of 1836 was
Miss Beresford, and this portrait is interesting from the
fact that it was begun many years previously. It repre-
sented Elizabeth, only daughter of Marcus Beresford,
grandson of the first Marquis of Waterford, by Frances
Arabella, youngest daughter of Joseph, first Earl of
Milltown. Miss Beresford married on June 26, 1827,
Felix Ladbroke, Esq., of Headley, Surrey (he died
March 14, 1840), the banker. Writing from Hampton
Court on January 21, 1836, to " Dear Sir William,"" her
mother, Lady Frances Beresford, says : " I quite forgot
my dear child's picture, but I am glad to hear you are
preparing it for the Exhibition, as there it will be seen
by some of those who, I think, would do well to make

Collect ion A.

H.R.H. 1'KINCKSS MAHV
Buckingham Palace

1818-1838 177

it their own. Mrs. Ladbroke is very much changed in
appearance, she is extremely fat, and all vestige of
her former self lost from that circumstance ; but what
she was is not forgotten, and I hope the picture may
meet with a purchaser if you feel disposed to part
with it when the exhibition closes. In the meantime
you might let me know what is the value you set
upon it — I mean the intrinsic worth of the painting."

A Miss Wood was No. 78 ; Dr. Soutliey, M.A.,
No. 219, was Henry Herbert Southey (1783-1865),
younger brother of Robert Southey, the poet ; he be-
came physician to George IV. in 1823, and to Queen
Adelaide, was elected F.R.S. in 1825, and a Commis-
sioner in Lunacy in 1836. Mr. Sandby, No. 364 (a
member of the younger generation of artists of that
name), and the artist's portrait of himself, No. 382,
concluded the exhibits of this year. This latter is
probably the portrait which was " finished from life by
John Wood," and now in the National Portrait Gallery.
Beechey left Harley Street in 1836, and the contents
of his studio and his collections were offered for sale at
Christie and Manson's on June 9-11 of this year.
He thenceforth resided with his son-in-law, Mr. Jackson,
at Harapstead Heath, but his address in the Academy
Catalogues of 1837 and 1838 is given as 2 Henrietta
Street, Cavendish Square. He had four portraits in
the 1837 Exhibition, two of " anonymous " ladies ; one
was of The late Mr. Parke, No. 41, and he was John
Parke (1745-1829), the oboe player, of whom Beechey
had exhibited a portrait at the British Artists, Suffolk

178 SIR WILLIAM BEECHEY

Street, 1830, No. 92 ; Beechey therefore must have
painted two portraits of him, and one of these was in
the Beechey sale at Christie's in 1836, when it was
bought in at 1 6 guineas ; at the sale at Rainy's in
1839, when it was described as A Heady it failed to
find a purchaser. Mrs. Sharpe was No. 46 r. The last
Academy to which Beechey contributed in his lifetime
was that of 1838, and to this he only sent one picture,
No. 26, a portrait of The late Bishop of Madrat ; this
was Daniel Corrie (1777-1837), who was educated at
Cambridge, and was appointed Bengal chaplain in 1806,
senior chaplain at Calcutta, 1817, Archdeacon of
Calcutta 1832, and first Bishop of Madras, 1835. Sir
William Beechey died at Hampstead on January 28,
1839, but the Academy of that year contained one
example of his work, a portrait of Miss Owen as
Psyche.

CHAPTER VI

THE BEECHEY FAMILY AND THEIR FRIENDS

SIR WILLIAM BEECHEY was the happy father of eighteen
children, of whom twelve grew up and married. Of
these twelve, six were boys and six girls, three of each
being dark and three fair. In a general way, a dis-
tinguished person's children do not come much into
their parent's career, for they rarely carry on the family
traditions, whether scientific, literary or artistic. With
the Beechey family it is different. Several of his
children were distinguished in various ways, and nearly
every one was utilised by him as a model. Portraits of
them when children and later in life are still preserved
in the family, and it is interesting to note that the
artistic gift has descended to Sir William Beechey's
grandchildren and great grandchildren.

Both Sir William and Lady Beechey were what would
be described to-day as great " social " lights. They
entertained largely, and formed many friendships which
were lasting. One of their most intimate friends was
that fine old " sea-dog " the Earl of St. Vincent, whose
portrait (see p. 106), one of many of him by Beechey — one
of the strongest male portraits ever painted — a head and
shoulders, belonged until lately to the son of his god-

1 8o SIR WILLIAM BEECHEY

child, Canon St. Vincent Beechey, at Denver, near
Downham. Lord St. Vincent wrote some delightful
letters to the Beecheys, and by permission of the
owners, the late Canon Beechey and Mr. Ernest
Beechey, we are able to print them in extenso. The
first of these deals in fact with Frederick William
Beechey (1796-1856), afterwards Rear- Admiral, who
entered the Navy in 1806. The concluding paragraph
of the letter is curious. The " man in embrio " for
whom Lord St. Vincent had obviously been asked to
stand as god-father was the late Canon St. Vincent
Beechey, who was born on August 7, 1806 — a few
hours only before the letter was written many miles
away (Canon Beechey* died on August 19, 1899, the
last surviving son of the artist). The letter is as
follows :

" HIBERNIA, near USHANT, August 8, 1806.

" MY DEAR MADAM, — Frederick [Beechey] dined with
me yesterday and eat double allowance, for the poor
fellow had been sea-sick all the way out in the
Conqueror. Mr. Jackson, son of the master attendant
of Plymouth Dockyard, has the care of him below and
my nephew, John Parker, above. Your ladyship is
heartily welcome to my name for the man in Embrio,

* There were two Canons St. Vincent Beechey, father and son.
The former held the living of Hilgay, Norfolk, and resided there
until his death in 1899 ; his son was rector of Denver, Norfolk, at
the time of his death in 1905.

THE BEECHEY FAMILY 181

and with my best wishes to you, Sir William, and the
colony, I remain,

" Very sincerely yours,

" ST. VINCENT.""

" Sir William promises well, nous verrons comme il
agir&r.'"

There are three other letters from the same source, and
these all show the affectionate regard in which the
Beecheys were held by the great sea-captain. They do

not call for comment.

" ROCHBTTS, April 22, 1808.

" DEAR SIR WILLIAM, — Many thanks for your con-
gratulations, which have not found us so well as you
and Lady Beechey wish ; the late winter weather having
thrown us both back, and it is yet doubtful when we
shall be able to remove to Town ; and to avail our-
selves of the obliging proposal to view the Exhibition
is impossible ; I will therefore thank you to withdraw
the invitation to dine and to bestow it on some one
more worthy of the distinction. Both Lady St.
Vincent and myself are much concerned at the in-
disposition of Lady Beechey, and with our best wishes
to her, to you, and the whole colony, I always am,
" Very sincerely yr Hble Servant,

" ST. VINCENT."

" ROCHBTTS, May 10, 1814.

"Mr DEAR MADAM, — Many thanks for your very
obliging congratulations upon a late event. I have
great pleasure in acquainting you that Capt. Ricketts

1 82 SIR WILLIAM BEECHEY

of the Vengeur has written to me in strong terms of
praise of your son Frederick, Captain Curtis having
permitted him to dine with his old captain.

" With my best wishes to your ladyship and the whole
colony, believe me to be,

" Yours very truly,

"Sx. VINCENT."

"RocHRTTs, October 27, 1815.

" Welcome from Paris, Johnny A < lair !

" I heartily hope, Sir William, that the papers speak
truth touching your lucrative employment there. Some
Female Friends of mine having laid me under injunction
to sit to Mr. Nollekens for a Marble Bust, you will
oblige me very much by accompanying him to this
place as soon after the I5th of November as may be
convenient to you both, to stay as long as you and
Mr. N. may like ; of course you will bring the neces-sary
implements for correcting the censured part of the
Portrait you painted for

" Your steady Friend,

" ST. VINCENT.

"My best wishes to Lady B. and her numerous
Flock."

We may here print a letter from Sir Thomas Law-
rence, which shows that even when the Beecheys were no
longer young they entertained their friends with what
was apparently an annual ball.

MRS. MKIiltY

Jiy permission of Monsieur C. Sedelmeyer

THE BEECHEY FAMILY 183

" RUSSELL SQUARE, June 27, 1824.

" DEAR LADY BEECHEY, — I regret extremely that from
two causes, viz., slight indisposition and the necessity
of rising early on Wedy. morning last, I denied myself
the pleasure of attending your party on Tuesday-
Remembering how pleasant the same character of Ball
was last year, I wanted not the report of friends to add
to my vexation for the loss of so much rational amuse-
ment.

" With many thanks for your remembrance of me on
this occasion, I remain,

" Dear Lady Beechey,

" Most sincerely yours,

" THOS. LAWRENCE.""

Sir William Beechey's kindness to Richard Wilson is
well known, the latter was a frequent visitor at the
house of his fellow artist. A Mr. Field contributed
some interesting Wilson-Beechey anecdotes to the
Somerset House Gazette of August 14, 1824 (pp. 297-8).
He says : " Sir William Beechey, as he himself has
informed me, having on one occasion invited Wilson to
dine ; before he consented, he thus sounded his way :
' You have some daughters, Mr. Beechey ? ' ' Yes,
sir.' ' Well, do they draw ? All the young ladies
learn to draw now.' ' No, sir ; they are musical.' This
was very well ; his rough honesty dreaded an exhibition
of performances in his art, which might place him in the
dilemma of praising untruly or condemning offen-
sively. . . ."

Lady Beechey was herself an artist of no mean ability,

i84 SIR WILLIAM BEECHEY

but appears to have confined herself chiefly to minia-
tures. Since the earlier portion of this book was
printed off', we have made an interesting discovery
which settles a number of doubts as to Beechey's second
marriage discussed on pp. 7-8. The register of St.
George's Church, Hanover Square, shows that on
February 27, 1793, William Bcechey was married to
Phillis Ann Jessup, " by licence," the witnesses being
Paul Sandby and Abigail Jessup. Probably the " whole
colony," to which the Earl of St. Vincent so frequently
alludes, was not by the second wife, and it may be
reasonably assumed that several of the elder children
were by the first marriage. Lady Beechey, as we have
seen (p. 27) exhibited at the Royal Academy in 1787,
before her marriage, and in 1795 to 1805 ; a complete list
of these exhibits will be found in the Appendix. The
incessant cares of a large family must have been the only
motive which compelled her to give up a profession in
which she had already distinguished herself. The Master
Beechey of 1795 must have been either Henry or Charles
(who died when quite young). The three Miss Beecheys
of 1798 were Emma (afterwards Mrs. Spencer), Caroline
(afterwards Mrs. Innes), and Harriet (afterwards Mrs.
Riley). Her own portrait in the 1799 exhibition is
doubtless the miniature now in the possession of her
granddaughter (daughter of Admiral Frederick Beechey),
Mrs. Reed. The Miss A. D. Beechey of 1804 was
Anna Dodsworth, afterwards Mrs. Jackson, who was
born in 1800. The Miss Beechey of 1805 would have
been Emma, the eldest daughter.

Mr. Sydney Chancellor's Beechey Account Book was

THE BEECHEY FAMILY 185

apparently utilised by Lady Beechey as well as by her
husband, and she has there made a list of the minia-
tures which she painted in 1795-6, with the prices
which she received for them. These lists are so inter-
esting that we have no hesitation in printing them in
full. It will be seen that Lady (or Mrs. as she was
then) Beechey made a substantial contribution to the
family exchequer in the first year ; the list for the
second year is probably not complete. The entries
which follow are thus headed :

MINIATURE PICTURES PAINTED [BY MRS.
AFTERWARDS LADY BEECHEY] IN 1795,
BEING THE FIRST YEAR OF MY PAINTING
THEM

£ s d

Mr. Hicks 5 5 O

Mr. Cleveley . . . . 10 10 O

Mr. Ballantyne . . . . 2 2 o
Miss Morris . . . . . 5 5 o
Mrs. Boaden .....
Mr. Meux . . . . «. 5 5 0

Mr. Forin, 2 IO 10 O

Mrs. McCree . . . . • 5 5 O
Mr. Nouverre . . . . 55°

Miss Alderson.

Mrs. McKenzie's friend . . • 5 5 O
Mr. Dudding . .* . . 5 5 O

Mr. Maude . . . . . 770
Capt. Stoevein [?] . . . 77°

Capt. . . . . . 550

Mrs. Grey, 2 pictures . . 14 14 O

1 86 SIR WILLIAM BEECHEY

£ *. d.

Mrs. Stephens , . . . 5 5 o

Mr. Flude's friend, 2 pictures . . 14 14 o

Mrs. Sugg . . . * . 550

Master Irwin . . . . . 550

Mr. Stuart's copy of Mrs. M. . . 77°

Copy of miniature of Stuart . . 5 5 o

Here ends the year 137 9 o

1796.

£ s. d.

Little boy for Mrs. Raper . . 5 5 O
Mr. Gregson . . . . . 550
Mr. Tracey . . . . . 77°
Mr. Pockington . . . . 7 7 O

Miss Rous

Mr. Forin 10 IO O

Mrs. Russell .....

Mrs. Osborn

Mrs. Chambers ....

Mrs. Macree . . . . -55°

Mrs. Wilkinson . . . . 7 7 O

48 6 0

The artist's wife was a great favourite of Queen
Charlotte, who was often at 18 Harley Street; she took
a great interest in the children (one of whom was her
god-daughter) and in their studies, and would go to the
schoolroom and encourage them in their work. Sir
William, too, sometimes took one or two of the
children to play in his studio at the Palace, and one

THE BEECHEY FAMILY 187

day when the King came in two of the children slipped
out and found themselves in the Throne-room, and to
their dismay heard the King and their father coming
along, so they hid under the Royal chair. The King
made straight for the chair and sat upon it while Sir
William painted his portrait ; at last the poor child-
ren got so cramped that they moved, and George III.
jumped and said, " It's an odd thing, but I could declare
this chair moved.'1 Presently he felt it again and got
up, and Sir William had ignominiously to pull his son
George (the King's god-son) out by the leg, and his
little sister too ; the King, being in a good humour, took
it very good-naturedly and laughed, as the children
were very much frightened.*

Lady Beechey was painted several times by her
husband, but we have traced only one of these pictures,
and this is probably the portrait exhibited at the Royal
Academy in 1800, No. 179, until recently in possession
of one of her grandchildren, and now the property of
Mr. E. G. Raphael, by whose permission it is here
reproduced. It is a half figure of a pretty woman,
seated at a table directed to left, looking at the spec-
tator nearly full face, in low-cut purplish dress with
white crossover, broad-brimmed hat (which throws the
forehead and eyes into the shade) bound with dark
broad band of ribbon, left hand resting on some
papers on the table, right hand holding crayon or
brush (canvas about 30 in. by 25 in.) Lady Beechey

* From the MSS. of Mrs. Champion Jones, granddaughter of
the artist.

1 88 SIR WILLIAM BEECHEY

died in Harley Street on December 14, 1833,
aged 69.

Sir William Beechey painted several portraits of
himself. Two of these were exhibited at the Royal
Academy, one in 1790, No. 420, and the other in 1836,
No. 382. The earlier one is probably that engraved in
mezzotint by William Ward (no date) on a plate 15^ in.
by 1 1 in. : it shows him to half figure in square border,
directed slightly to left, looking to front, coat with high
collar and buttoned across chest. Another, a bust, is
an oval, directed to right, head turned and looking at
spectator, wig, coat with high collar, and elaborate
white frill neckerchief; this was engraved in stipple by
Ridley for the Monthly Mirror of July 1798. Of this
portrait Beechey probably made several replicas ; the
original remained with its companion, the portrait of
Lady Beechey, in possession of a grandson of the artist
until recently, when it was acquired by private treaty
by Mr. E. G. Raphael, by whose permission it is repro-
duced here as the frontispiece. Another, signed with
initials and dated, " W. B. 1799, M. 46," shows him
to half figure, directed to right, looking at spectators,
dark coat, white ruffle, to right an easel with the
design of a picture of a battlefield or manoeuvres with
equestrian figure to right, probably intended to repre-
sent the famous review of George III. ; this was en-
graved in stipple " from an original picture in his own
possession " by R. Cooper on June n, 1814, for " The
British Gallery of Contemporary Portraits." A later
portrait on a three-quarter canvas, showing half figure

THK HOX. MRS. W. M. XOKL
By permission <{/' Colour! It'. /•'. L. Abe/

THE BEECHEY FAMILY 189

directed to right, three-quarter face, dark coat, was
purchased by the Royal Academy authorities in 1874
and is now in the Committee-room of that Institute.
The National Gallery possesses an interesting portrait,
begun by Beechey and finished from the life by John
Wood ; it has been already mentioned and is here
reproduced. One of the foregoing was copied in enamel
by H. Bone, and both the original and the miniature
are now the property of the Rev. Edward Spencer, of
Tavistock, a descendant of Beechey.

Beechey's granddaughter, Mrs. F. A. Hopkins,
possesses a three-quarter (canvas 30 in. by 25 in.) of
him late in life, half figure, directed to right, nearly full
face, in dark dress, with collar and neckherchief, wearing
a high-crowned hat : this has generally been assumed to
be the work of the artist himself, but it is probably
by R. Rothwell, R.H.A., and is one of at least two
which remained in the Beechey family until lately ; this
interesting portrait is also here reproduced.

Of family groups, with and without Lady Beechey,
there are many. One of the most interesting of these,
the property of Mrs. F. A. Hopkins, is a fancy picture
of " The Blind Fiddler," a large canvas with eight full-
length figures. The six Beechey children are Henry,
Charles, Phyllis, Emma, Caroline and Harriet, and the
other two figures are the nurse, who is holding the
youngest of the children, and the Blind Fiddler, who is
seen to the extreme right. Miss Beechey, of Hilgay,
possesses a small picture of the heads of a lady and
child, probably Lady Beechey and one of her elder

190 SIR WILLIAM BEECHEY

children, and apparently done late in the eighteenth
century. Mr. W. W. Hallam, of Lowestoft, is the
owner of a beautiful example of the artist, purchased
at the sale of the effects of a country house near
Norwich some years ago ; it is of a lady and child,
probably Lady Beechey and one of her children as a
cherub; the canvas is 29^ in. by 24^ in. This may
possibly be the picture of the artist's wife and child so
highly spoken of by a writer in " Public Characters,
1800-1801," whose words are quoted on p. 72. The
picture is here reproduced.

Every one of Beechey 's children appears to have
been painted by him at one time or another, either as
portraits or in fancy subjects, sometimes both. A few
particulars about each of the children who grew up,
and of their portraits (so far as they can be traced) by
their father, will not be without interest.

Emma Amelia, the eldest daughter, married in 1813
the Rev. Charles Spencer, of Great Marlborough Street,
London. He was vicar of Bishop's Stortford, Herts,
from 1817 until his death July 7, 1849, called, on
account of his good looks, " The Beauty of Holiness."
Beechey's son-in-law may be identical with the " Charles
Spencer " who figures in the Account Book, August 18,
1823, in connection with a payment of ^.49 95., prob-
ably for a portrait of himself. It is understood that
a descendant has portraits of the Rev. Charles Spencer
and his wife, by the latter's father.

Henry William, the eldest son, was appointed secretary
to Salt, British Consul -General in Egypt, and accom-

THE BEECHEY FAMILY 191

panied Belzoni in 1816-7 beyond the Second Cataract.
He copied the paintings in the King's Tombs in the
valley of Biban-el-Muluk, and returned to England in
or about 1820. In company with his brother, Captain
Beechey, he surveyed the coast line from Tripoli to
Derna, and the " Journal " of that expedition con-
tained numerous beautiful drawings by Henry. He
exhibited two pictures, one at the British Institution
in 1829, " View of Part of Cyrene, consisting of the
Ancient Monuments, and a distant view of the Sea "
(75 in. by 1 1 1 in.), and a portrait of Mrs. Worthington
at the Royal Academy of 1838. He was a Fellow
of the Society of Antiquaries (1825), and published an
edition of Sir Joshua Reynolds's "Literary Works,"
1835. He emigrated to New Zealand in 1855, and
acquired nearly the whole of the land now covered by
Christchurch, but disposed of it before it became
valuable. He died at Littleton.

Charles, who appears in the family group of " The
Blind Fiddler," died young.

Caroline married Mr. Innes of the Admiralty. The
portrait which Beechey exhibited at the Royal Academy
of 1835, No. 392, Mrs. Inms, was, most probably,
of his daughter, painted ten or fifteen years before it
was exhibited. The portrait, a half-figure, shows Mrs.
Innes directed to front and looking at the spectator,
in pale yellow low dress, with white lace, gold chain
suspended around the neck, buckle and trinkets, black
hair, full dark brown eyes, brunette complexion, holding
in right hand a portfolio, labelled " Hamlet " ; this

1 92 SIR WILLIAM BEECHEY

picture was purchased from Mr. George limes, a son of
the Mrs. Innes in the portrait, by the present owner,
Mrs. Commeline, of Beaconsfield Rectory, Bucks (her-
self a great-granddaughter of the artist).

Harriet married on April 20, 1816, Richard Riley,
Esq., of the Admiralty. Her father painted her portrait,
probably as a wedding present, and exhibited it at the
Royal Academy of 1818, No. 214 ; this portrait, which
is a whole length, is one of the finest of Beechey's later
works, the face itself being extraordinarily sympathetic
and of great tenderness : it shows her seated, in white
low-necked dress, head turned towards left, hands resting
in lap, and on the right is a balustrade with a vase of
flowers. The portrait remained in the possession of a
descendant of Mrs. Riley until recently, when it was
purchased by Mr. William Windus, from whose posses-
sion it passed into that of Sir Isidore Spielmann.

Frederick William, born February 17, 1796 (godson
of William IV.), entered the Navy in 1806 ; he accom-
panied Franklin's Arctic Expedition in 1818, wrote
an account of it, was an eminent geographer and a Rear-
Admiral ; he married December 13, 1828, Charlotte,
youngest daughter of Lt.-Col. John.Stapleton, Esq., of
Thorpe Lee ; was President of the Royal Geographical
Society, and Superintendent of the Marine Department
of the Board of Trade from 1850 to his death in 1856.
Anne Phyllis, born in 1794, married at Marylebone
Church, on October 26, 1813, to Henry Spencer,
Esq. Beechey painted a companion pair of portraits
(each about 30 in. by 25 in.) of his daughter Phyllis and

THE BEECHEY FAMILY 193

Henry Spencer as a present on their marriage ; these
are the property of their daughter Miss Harriet J.
Spencer, of Redlands, Bristol.

George Duncan was born in 1798 (godson of George
III.), and followed his father's profession : he exhibited
portraits at the Royal Academy from 1817 ; about 1828
or 1829 he went to India, and there married a princess
of the name of " Hinda," a portrait of whom (after-
wards engraved) he sent to the Royal Academy of 1832 ;
he became Court Painter and Controller to the King of
Oudh, and died at Lucknow, December 6, 1852. His
death is said to have been accelerated by grief at
hearing of the total loss of the ship in which he had
sent home to England a large number of his best portraits
for exhibition. His descendants are still in India.

Anna Dodsworth, born in 1800, married at Maryle-
bone July 16, 1825, John Jackson, Esq., of Hambleton.
Rutlandshire, and Queen Anne Street, London,
Beechey painted a charming portrait of this daughter
when she was about seven years of age. This picture,
which was exhibited at the Royal Academy of 1828,
No. n, still belongs to Mrs. Hugh Frederick Jackson,
widow of one of the artist's grandsons. This pic-
ture (which measures 40 in. by 50 in.) is a whole
length of a little girl sitting, directed to front, and
looking at spectator in an autumnal landscape under-
neath some trees, in a low-cut terra-cotta dress, white
chemisette, green polonaise, dark velvet hat with green
strings, with her lunch-basket by her side. Mr. Herbert
Innes Jackson, brother-in-law of the present owner of

194 SIR WILLIAM BEECHEY

the portrait, possesses a very interesting letter sent
with the picture to his father ; it is dated Harley Street,
August 21, 1828, and runs as follows : —

" MY DEAR JACKSON, — This being the anniversary
of your birthday, I have sent you some corn ; and in
case you should ever be needy a little gleaner to supply
all your wants, which I beg your acceptance of, and as
a mark of my sincere affection, and that when my
grandchildren, at some future time, may look upon it,
it may put them in mind of Papa B., who is, with most
affectionate regard,

" My dear Jackson,

" Very truly yours,

"W. BEECHEY."

This charming picture was engraved on October i,
1829, under the title of The Little Gleaner, by E.
Finden. There is yet an earlier one of the same child,
when a baby, being nursed by her mother, which is
also a delightful example of Sir W. Beechey : this
is the property of the Rev. Hippisley Jackson, of
Stagsden Vicarage, Bedford. Mr. Herbert Jackson,
of Talbot Square, possesses a portrait of his mother,
Anna Dodsworth Beechey, painted as a wedding pre-
sent by her father ; a half-figure, in dark low-cut dress
and with jet-black hair (canvas, about 30 in. by 25 in.),
with a necklace of yellow topazes — the necklace was
left by will to Mrs. Herbert Jackson, and is still worn
by her.

Charlotte Earle (god-daughter of Queen Charlotte),

JOSEPH KOLLXKBNB, R.A.

Arational Gallery

THE BEECHEY FAMILY 195

twin-sister of William Nelson Beechey, born August 3,
1801, married July 26, 1825, Fletcher Norton, third
Baron Grantley ; died August I, 1878. Beechey painted
several portraits of this daughter ; one of these, doubt-
less a companion portrait of the whole length of Lord
Grantley, is now at Grantley Hall. Another, a fancy
portrait of her as Psyche, now belongs to Mrs. Mac-
ready (nee Cecile Spencer), of Cheltenham, — a grand-
daughter of the artist, and second wife of Macready,
the actor. Lady Grantley^s brother George also
painted her portrait, which was engraved in stipple by
Meyer, and published in October 1827. A grand-
daughter of the artist has a portrait of Charlotte
(afterwards Lady Grantley) as a Gleaner, in mauve
low dress with diagonal stripes, in a landscape back-
ground, seated and reclining against a bank ; canvas,
36 in. by 28 in.

William Nelson Beechey, born August 3, 1801, be-
came a solicitor, married September 5, 1839, at St.
John's, Paddington, to Maria, second daughter of J. W.
Liddiard, Esq., of Hyde Park Street ; died at Streatham,
November 28, 1849. His only daughter is Miss
Nelson Beechey. Alfred, born June 24, 1803. St.
Vincent (god-son of the Earl of St. Vincent), born
August 7, 1806; entered the Church; married Miss
Jones, of Woodhall, Norfolk ; held many appoint-
ments in the Church, and died, rector of Hilgay,
Norfolk, on August 19, 1899. A portrait of him when
about six years of age, by his father, is the property
of Mrs. Kingsford, Thrapston Rectory. A member of

196 SIR WILLIAM BEECHEY

the family possesses a head of St. Vincent Beechey,
painted when he was about four or five years of age,
a chubby, cherubic face, with an elaborate white frill
collar.

Richard Brydges, born May 17, 1808, entered the
Navy in 1822, and after an adventurous and varied
career was appointed admiral; he married Frideswaide
M. M. Smyth, eldest daughter of Robert Smyth, Esq.,
of Portlich Castle, Co. Westmeath. He was an ac-
complished painter of sea views, and exhibited at the
Royal Academy from 1832 to 1877, at the British
Institution from 1833 to 1859, and at the Society of
British Artists, 1834-5. HG lived for several years at
Plymouth, and many of his pictures are still in that
town ; he died in 1895. Sir William Beechey 's youngest
child, Jane, appears to have died in infancy.

CHAPTER VII

SOME OTHER PORTRAITS

BEECHEY painted a very large number of pictures
.which were never exhibited at the Academy. The
present chapter deals briefly, and for the most part
in alphabetical order, with such portraits as are known
to us at the present time, but which have not been
identified as having been exhibited at the Royal
Academy and are not (with two or three exceptions)
mentioned in the earlier chapters of this work. The
range of these portraits is naturally a very wide one,
embracing as it does the whole of the artist's working
career. Only a small number of them have been
examined by the present writer, so that in most cases
the entries are here made " without prejudice." For
many years auctioneers and picture-dealers have been
in the habit of ascribing fifth-rate " Hoppners "
and " Lawrences " to Beechey, so that it would be
impossible within the limits of this work to make
anything like an exhaustive catalogue of such pictures,
even if such a list would serve any useful purpose.
Beechey painted a good many indifferent pictures,
like every other artist, but he could not possibly
have painted all the rubbish which has been ascribed

198 SIR WILLIAM BEECHEY

to him. The hideous fashions of the early Victorian
period have spoiled, from the collector's point of view,
many of the portraits, both of men and women, but
more especially of the latter, which he painted towards
the evening of his long career ; but this is a fault of
which he is the victim rather than the culprit.

Miss Abemethy, sister of the celebrated doctor, half-
figure, on canvas, 25 in. by 30 in., exhibited at Messrs.
P. and D. Colnaghi and Co.'s in June 1904. A "three-
quarter" portrait, with " Captain Bainbridge ? written
on the back of the canvas (owned by Mr. Julian
Sampson), in uniform, apparently naval, with gold
buttons, and wearing an Order of a Knight of Malta ;
this exceptionally strong portrait may be of Sir Philip
Bainbrigge (1786-1862), whose deeds are recorded in
the " Dictionary of National Biography."" The " Lord
J. Russell11 of the Account Book, 1790, is doubtless
the portrait of John, sixth Duke of Bedford (1766-
1839), described by Scharf in the " Catalogue of Pictures
at Woburn Abbey," in which it is said to have been
" taken when young " ; he wears a dark brown coat with
raised collar, and the long-flowing hair is powdered ;
canvas, 28^ in. by24 in. John Blackburne,F.R.S. (1754-
1833), whose portrait was engraved in stipple byTomkins,
sat in ten Parliaments, 1784-1830, and the engraving
(a private plate) shows him to half-figure, in dark coat,
with white neckerchief; he holds a MS. in his hand. John
Blades (died in 1829, aged seventy-eight), whose portrait
was engraved by W. Say in 1822, was painted in 1815,
a three-quarters ; he is represented in sheriff's fur-

SOME OTHER PORTRAITS 199

trimmed gown with chain of office ; he was a glass
manufacturer of Ludgate Hill, and was Sheriff of
London and Middlesex, 1812-13. Arthur Blayney
(died October i, 1795, aged eighty-one) was known as
" The Father of Montgomeryshire,11 and his portrait was
engraved in mezzotint by T. Hardy ; this print shows
him to half-figure, in plain coat with powdered hair.
Mr. Claude Borrett, of Hatton Court, Castlethorpe,
possesses an admirable late portrait of his grandmother,
Laura Maria, only daughter of Sir George Tuthill, and
wife of Thomas Borrett, a London solicitor ; it is a
"three-quarters" (30 in. by 25 in.), in which Mrs.
Borrett is seen to half-figure, seated at a window, in
low dress, salmon pink bodice, with bluish-green cloak
thrown back, dark brown curly hair, light blue eyes ; this
lady died on February 20, 1863, aged sixty-two years.

A portrait of Viscount Bulkeley (Thomas, seventh Vis-
count, born 1752, died s.p. June 3, 1822) was engraved in
stipple by W. Say, and shows him to half-figure, in dark
coat with broad collar and white neckerchief ; this is
doubtless the picture entered in the Account Book
under 1791, when Beechey also painted a portrait of
the Viscountess Elizabeth Harriet, only daughter and
heiress of Sir George Warren, of Poynton ; she married
August 26, 1777, and died in 1826. A portrait of
Thomas Cadell, the bookseller and alderman of London
(1742-1802), was engraved in stipple by H. Meyer, and
shows him to half-length, seated, in light coat with
broad lapels. The portrait of another alderman, John
Carr (died in 1807, aged eighty-four), architect and

200 SIR WILLIAM BEECHEY

alderman of York, of which city he was mayor in 1770
and 1785, was engraved in mezzotint by C. H. Hodges ; a
three-quarter length figure, in plain coat and striped vest,
holding plans on table, one inscribed " J. Carr, archi-
tect,"" and another "Elevation of the Crescent at
Buxton," which Carr built. Philip, fifth Ear) of
Chesterfield (1755-1815), whose portrait was engraved
in mezzotint by J. R. Smith in June 1898, is shown
to half-figure, 'and wears a coat, which is buttoned
across the chest, with high collar ; when engraved the
original picture was the property of " Francis Freeling,
Esq.," afterwards Sir Francis Freeling, the postal
reformer. Mr. W. C. Alexander, of Aubrey House,
Kensington, is the owner of the portrait of Robert
Cleveley (1747-1809), the marine painter, who was
killed through falling over the cliff at Dover ; this
portrait was engraved in stipple by Freeman in 1810;
on the back of the canvas is an inscription stating that
the portrait was " painted at a single sitting." According
to Evanses "Catalogue" (vol. ii.) Hodgetts engraved a
portrait by Beechey of Samuel Pepys Cockerell, the
architect (1754-1827), but we have not seen this
engraving. Of the two portraits of Sir William
Codrington, M.P., entered in the Account Book of
1789, one is now in the Town Hall at Tewkesbury,
which place Codrington represented in Parliament from
1761 until his death, March 11, 1792. Mrs. Coppell,
whose portrait is in the collection of Mr. Henry
Pfungst, and is here reproduced, was grandmother of
Sir George Barnard, and was purchased from trustees

LADY CATHERINE TELHAM-CLIXTOX

Hi/ permission of the Kurl of Radnor

SOME OTHER PORTRAITS 201

in 1886. The portrait of the Rev. William Coxe, the
author and traveller (1747-1828), is at King's College,
Cambridge, it is said to have been painted on March
5, 1805, and was engraved in mezzotint by R. Dunkarton
August 5 of the same year ; it is a half-figure, in black
coat and white cravat, canvas 30 in. by 25 in. ; it was
lent to the exhibition at South Kensington in 1868.

The portrait of Henry d'Esterre Darby, captain of
H.M.S. Bellerophon at the battle of the Nile, 1798 (he
was knighted in 1820), was engraved by R. Earlom in
1 80 1, " from a picture in the possession of his brother,
J. Darby, Esq., of Leaf Castle, King's Co., and of
Markley, Co. Sussex " ; the officer is in uniform and
wears a medal, which hangs from the button-hole.
The portrait of Charles Dibdin, the dramatist and
song- writer (1745-1814), a half-figure, seated in an
arm-chair, holding a book in left hand (canvas 29 in.
by 24 in.), is one of several Beecheys in the collection
of the Baroness Burdett-Coutts, who lent this one to
the Old Masters in 1893. An admirable portrait of
Kenneth Dixon, son of John and Anne Dixon of Tot-
teridge, Herts, when a young boy, in dark suit and
white frills, large hat with feathers, in a landscape
playing battledore (canvas 53 in. by 40 in.), was sold
at Christie's on May 3, 1902, for 200 guineas, and
was purchased by Mr. Home. The portrait of Vice-
Admiral Sir William Henry Douglas, second baronet,
who died at Chelsea in May 1809, in his forty-ninth
year, was engraved by W. Say, and is now the pro-
perty of M. C. Sedelmeyer, Paris. Francis Drake, the

202 SIR WILLIAM BEECHEY

diplomatist's (1764-1821)" portrait was one of the
several by Beechey engraved by John Young, but the
engraving is undated ; it shows a three-quarter figure in
court dress, right arm across that of chair, left hand
on table to right. The frequently engraved portrait of
Admiral Sir John Thomas Duckworth (1748-1817), a
half figure in naval uniform with decorations and Order,
was lent to the exhibition at Exeter in 1873 by Sir
J. T. B. Duckworth, and to the Naval Exhibtion in
London in 1891 by Admiral Sir G. Duckworth-King;
it has been engraved by Vendramini, by Clint, and by
Charles Turner, and was painted in 1810. The "Mr.
Dundas" of the 1823 Account Book was Charles
Dundas, the barrister and politician (1751-1832), who
was created Baron Amesbury in the year of his death ;
this portrait was engraved by W. Say, but the en-
graving is unknown to us. Another engraved portrait
of which we have been unable to examine the engraving
— by Meyer — is that of the Earl of Egremont (George
O'Brien, third earl, 1751-1838); the original portrait
is probably at Petworth. According to Fulcher's
"Life of Thomas Gainsborough, R.A.," 1856, p. 124,
Sir William Beechey " was employed to alter some
part of the figure " of Gainsborough's whole length of
the Countess of Egremont at Petworth ; " he painted
considerably on it, and on the background, but did not
touch the face." ' Mr. Austen Chester is the owner of
Beechey's portrait of the Rev. William Eveleigh, LL.D.,
Vicar of Aylesford and Lamberhurst, painted in 1829.
" The Hon. Mrs. Finch and Family " is the title of a

SOME OTHER PORTRAITS 203

group (canvas 77 in. by 52 in.), the property of Mrs.
Dayes, purchased at Robinson and Fisher's for 115
guineas, June 5, 1902, by Sir Faudell Phillips. A
kit-cat portrait of Sir James John Fraser, Bart., was
sold at Christie's on May 28, 1903, for 140 guineas. A
private plate by Charles Turner of Thomas Forsyth is
another of the engravings after Beechey which we have
not yet been able to examine. The portrait of Admiral
Alan Gardner (1742-1809) was engraved by Fenner for
Jordan's *' Portrait Gallery,"" 1832; the original was
lent to South Kensington by Lord Gardner in 1 867 ; it
is a bust or " three-quarters " in naval uniform. A
companion pair of portraits (canvas 49 in. by 39 in.)
of Lord and Lady Godolphin were lent to the
Grosvenor Gallery in 1889 by the Duke of Leeds;
Lady Godolphin is in low-cut muslin dress with
short sleeves. Lord Godolphin was the second son of
Francis, fifth Duke of Leeds ; he was born October 1 8,
1777, and was created Baron Godolphin on May 14,
1832, and died in February 1850; he married, on
March 30, 1800, the Hon. Elizabeth, third daughter of
the first Lord Auckland, and she died April 17, 1847 >
their son succeeded as eighth Duke of Leeds. Mr. E.
Gosse has a portrait of his mother, Miss Emily Bowes,
when a child in 1814 or 1815, and afterwards the wife
of P. H. Gosse, F.R.S. The finer of the two portraits,
which differ slightly, of John Guillemard, a great
traveller, and a friend of both Talleyrand and
Humboldt, is that owned by Mr. Davies Gilbert of
Trelissick, near Truro, whilst the other belongs to

204 SIR WILLIAM BEECHEY

GuillemarcTs great-great-nephew, Mr. F. Henry H. GuiJ-
lemard, of Old Mill House, Trumpington, Cambridge.
A portrait of Captain Hardy, Nelson's friend and com-
panion, was in the possession of Messrs. Vicars Brothers,
Old Bond Street, London, in April 1904. There are
two versions of the engraved " three-quarters " portrait
of William Heberden, the eminent physician (1710-
1 80 1 ) ; one is at the Master's Lodge, St. John's College,
Cambridge (of which he was a Fellow), and the other is
at the College of Physicians ; the undated mezzotint by
James Ward shows half-figure, seated, wearing dark
dress and wig ; it was again engraved by J. Thomson
for Pettigrew's " Biographies of Medical Men,1' 1 839.
Since the earlier portion of this book has been printed
off one of the Academy exhibits has been traced,
namely, the Mrs. Hills and Child, 1800 (p. 72), and this
very fine picture, which is signed and dated, is here
illustrated. Mrs. Hills (nte Francis Bankes, born in
1770, and died January 12, 1849) manned, in 1749,
Phillip Hills, of Colne Park, second son of Thomas
Astle, F.R.A., the well-known antiquary (the name of
Hills was assumed when Philip Astle succeeded to the
Colne Estate) ; the child, her only son, Robert, was
born at Colne Park on August 15, 1796, and died in
1876. The picture now belongs to Miss Lorina J.
Reeves, of Lowestoft, great-granddaughter of Mrs.
Hills.

Mrs. Oscar Leslie Stephen is the owner of two un-
usually fine examples of Beechey, Mrs. Idle and her
second son, George. Mrs. Idle, who died at Southgate

SOME OTHER PORTRAITS 205

on January 26, 1834, was tne w^e °f Christopher Idle,
M.P. for Wey mouth (he died March 8, 1819), a partner
in the firm of Christopher Idle, Brother and Co., wine
merchants, of 377 Strand, London. George Idle
matriculated at Christ Church College, Oxford, on
July 3, 1813, aged eighteen, and his niece Miss Idle,
who married Mr. Algernon William Bellingham Greville
(Mrs. Stephen's father), inherited the pictures. Mrs.
Idle's portrait, on a kit-cat canvas, shows her to half
figure, white low dress with black cloak lined with pink,
seated in red chair, directed to front and looking to
left ; right arm resting on that of chair, dark curly hair
falling in ringlets over forehead. The portrait of
George Idle is a whole length on a " three-quarters "
canvas (30 in. by 25 in.) of a lad of about eight
or nine, in dark blue dress with gold buttons,
white lace collar, white stockings ; he is directed
to left, and is looking at spectator nearly full face, fair
hair. Boyle's " Court Guide " of 1817 gives the addresses
of Christopher Idle as 6 Adelphi Terrace, Southfield
Lodge, Eastbourne, and Southgate, whilst those of
George Idle are 12 Lower Seymour Street, and South-
field Lodge. The late General J. Julius Johnstone,
bequeathed to the National Gallery in 1898, among
other family pictures, two by Sir William Beechey,
a companion pair of "three-quarters" of Alexander
P. Johnstone and James P. Johnstone : their iden-
tities have not been established beyond the names,
but both are excellent examples of the artist.
At the Naval Exhibition of 1891, Admiral Sir G.

206 SIR WILLIAM BEECHEY

Duckworth-King, Bart, exhibited a portrait of Admiral
Sir Richard King (1730-1806), who distinguished
himself in the Indian Seas and was created a baronet on
July 1 8, 1792.

In the earlier portion of this work we have had
numerous instances in which Beechey has made replicas
of his more famous sitters, either for their friends or for
his own gallery. An interesting example of this kind
calls for mention in connection with a portrait of
General Viscount Lake and his second son George
Augustus Frederick Lake; the former was born in
July 1744, and after a career in the army was created
Viscount Lake November 4, 1 807, and died February 20,
1808. His son also entered the army and was killed at
the battle of Vimiera on August 17, 1808. The picture
with father and son, whole lengths in uniform, standing
in a landscape, was painted for the King of Oude, but
was destroyed at the time of the Indian Mutiny. The
Beechey replica is now the property of Viscount Lake's
great grandson, Major John Colin Wardlaw, of Largs^
Twynholm, Kirkcudbrightshire, by whose courtesy we
are enabled to give a reproduction of it. In 1814, the
artist painted a whole length portrait of Thomas Lane
(1754-1824) "for the Goldsmiths'1 Company, to whom
he was clerk thirty years " ; this has been engraved by
Charles Turner. In addition to the portrait of Thomas
Cadell, already mentioned, Beechey also painted one of
Cadell's chief assistant, Robin Lawless (who died in
Soho, June 21, 1806, aged eighty-two), and Cadell
" always showed it to his friends as the chief ornament

MRS. 1MI.KY
Hi/ j»rmi*sion of Sir Tuittore flpielmann

SOME OTHER PORTRAITS 207

of his drawing-room " (Nichols, " Literary Anecdotes,"
iii. 388). A portrait of Miss Linwood (1755-1845),
famous as a musical composer but more particularly as
an artist in needlework, was engraved by W. Ridley for
the Monthly Mirror, January I, 1800 ; it shows her to
half-figure, seated at a table, in dark dress bare to elbows,
holding a book. The portrait of "Mr. Littledale ^
at the Royal Academy of 1797 may lie identical with
that of " Thomas Littledale of Rotterdam," which was
engraved in mezzotint by T. Hardy (no date is given on
the engraving), a half-figure, directed towards left, in
plain coat and double vest. Canon Cowper-Johnson of
Yaxham Rectory, East Dereham, possesses a portrait of
his great-grandfather, George Livius, who was born at
Lisbon in 1 743, and was Commissary-General to Warren
Hastings in India; he died at Bedford in 1816: the
portrait is a half-figure (canvas 30 in. by 25 in.), looking
to right, in dark blue coat with high collar and large
buttons, white stock and powdered hair. Another
portrait engraved by Ridley for the Monthly Mirror
(February 1796), was of Macklin the actor, a bust
directed and looking to right, wearing a wig.

An admirable portrait of Mrs. Marshall, in white dress
with pink shawl, resting on a sofa, a dog by her side
(59 in. by 81 in.), is here illustrated, by per-
mission of Messrs. Colnaghi and Co., and the following
interesting particulars will not be out of place : Mrs.
Marshall was twice married, first to a gentleman named
Hazlewood, by whom she had two children, a son and
a daughter. The son, Frank, was in the 6th Regiment,

208 SIR WILLIAM BEECHEY

and his portrait was painted by Sir W. Beechey in his
uniform, probably at the age of about twenty, as he
sailed in the Neptune for India in February 1809, and
died at Bombay in 1814, aged twenty-five. Mrs.
Marshall's second husband was a General Marshall, and
they resided at Ivy Bank, Notting Hill. " There were
stormy passages " (writes the recent owner of the picture),
"as each had decided and opposing views as to pose,
&c. Sir William objected to the dog, but the lady
would have it or no picture at all. He explained that
he could not paint animals — but with no better effect.
Mrs. Marshall's ears were not well shaped,but nevertheless
she objected to her curls covering them ; the artist,
exasperated, lost his temper, and retorted, * When the
peacock thinks of his legs he lowers his tail.' " Artist
and sitter, however, were on excellent terms. General
Marshall died in March 1842 ; his widow died on April
30, 1848, and was buried at All Souls Cemetery, Kensal
Green. The "Captain Mears" of the 1790 Account
Book is, there can be no doubt, the "John Mears,
Esq.," whose portrait was engraved by C. Bestland, a
half-figure in an oval coat with high collar, elaborate
white stock and wig. The engraving forms the frontis-
piece to Meares's " Voyages made in the years 1788
and 1789," published in 1790, and printed at the
famous Logographic Press of the first John Walter, the
founder of the Times, who at this period had a West
End address at " 167 Piccadilly, opposite Old Bond
Street." In 1868 Major Hill Mussenden Leathes
exhibited at Leeds a portrait of Mrs. Merry, a half-

SOME OTHER PORTRAITS 209

figure in velvet low-cut bodice with white chemisette,
dark hair falling in curls over her forehead, holding a
little dog in her lap (panel, 2&f in. by 23^ in.). This
lady, whose maiden name was Death, married first John
Leathes, of Reedham and other estates in Norfolk (he
died in 1788), and secondly Anthony Merry, the diplo-
matist ; the portrait is now the property of M . C.
Sedelmeyer, of Paris. Miss Goldsmith, of Beech Holme
Wimbledon Common, has a portrait of her old harp-
master, Charles Frederick Meyer, a half-figure, holding
a roll of music in his hands (the canvas is about 30 in.
by 25 in.). Thomas Mortimer (1730-1810), whose
portrait was engraved by Ridley for the European
Magazine, May I, 1799, a half-figure of an elderly man
with dark coat, white neck-cloth, and wig, was the
author of numerous books, of which a full account
accompanied his portrait in the European Magazine;
he was Vice-Consul of the Austrian Netherlands 1762-8,
and published "The British Plutarch" in 1762. Sir
Harry Burrard Neale (1765-1840), who appears in the
1807 Account Book, a half-length "for Lord St.
Vincent," was a distinguished naval officer, and attained
to the rank of rear-admiral in 1810. He was M.P.
for Lymington for forty years. This portrait was
engraved by J. B. Lane for " The British Gallery of
Contemporary Portraits," 1822.

Among the Slindon heirlooms sold at Christie's on
May 7, 1904, was a whole-length portrait of Anne
Webb, who married, June 30, 1789, Anthony James,
Earl of Newbury, and died August 3, 1861, aged

210 SIR WILLIAM BEECHEY

ninety-nine. She wears a soft white dress with gold
sash and gold ribbon in her hair, and holds a thin veil
over her head ; landscape and river in the background
(canvas 93 in. by 57 in.). The portrait realised 550
guineas. Two half-lengths of " Lord Francis Osborn
and his lady " are mentioned in " Public Characters,
1800-1," as having been painted for Lord Auckland.
Senor Juan F. Riafio, in an article in the Athenaeum,
May 9, 1896, on the Osuna collection of pictures, refers
to two " refined and pleasing " portraits of two young
men, sons of the ninth Duke of Osuna. Mention may be
here made to the National Portrait Gallery likeness of
the Rev. William Paley, which has been for many years
ascribed to Beechey ; it is a copy by that artist after
George Romney. In the Account Book of January 1809
we have the entry : " Of Mr. Brown for a copy of Dr.
Paley, £42" A whole-length portrait (93 in. by 58 in.) of
Miss Mary Anne Payne ("LaColombe Sauvee"), daughter
of George Payne, and afterwards Mrs. Dolphin, was at
Christie's on April 10, 1895, when it realised 375 guineas.
In the Account Book of 1807 there is an entry : " Of Mr.
Pearse for three pictures of himself, ^126," and in that
of 1813 another entry : " Of Mr. Pearse for two three-
quarter pictures, £105."" This " Mr. Peause " was prob-
ably Dr. William Pearse, Master of Jesus College,
Cambridge, of the Temple, and Dean of Ely (he died in
1820, aged seventy-seven). One of these five versions is
at the Master's Lodge, Jesus College. The portrait of
Miss Jane Peveril, daughter of Robert Peveril, of
Penard, Durham — married in 1789 Cuthbert Johnson, of

SOME OTHER PORTRAITS 211

Eastby, Yorks ; died December 20, 1826, aged fifty-
eight — sold at Christie's on June 25, 1904, for 260
guineas, is possibly the " Mrs. Johnson" of the 1789
Account Book. She is in a black-and-white dress, with
powdered hair and pearl ornaments (canvas 30 in. by
24 in.). A portrait of the Rev. William Piercy, a
Dissenting minister at Coventry and Woolwich, chaplain
to the Countess of Huntingdon and President of Georgia
College, North America, is mentioned in Evans's
" Catalogue," No. 20338, as having been engraved in
mezzotint by R. Dunkarton, but no example of this en-
graving is known to us. " Sir Charles Poole," whose kit-
cat portrait is entered in the Account Book of 1819, was
Admiral Sir CharlesMoricePole( 1 757-1 830). The portrait
was engraved both by W. Say and by Charles Turner,
and is reproduced in Bren ton's " Naval History," 1837,
p. 536. In addition to the picture of " Lord Por-
chester's Family " mentioned in the Account Book of
1 790, Beechey painted Lord Porchester (Henry George,
afterwards second Earl of Carnarvon, 1772-1833), and
this portrait was engraved in mezzotint by W. Say ; it
shows him to half-figure in military uniform and sash.
A portrait, sold at Christie's in July 1901, of Miss
Susan Mackworth-Praed, twin-sister of the Countess
Mayo and wife of Thomas Smith, of Fonthill, Jamaica,
and Bersted, Bognor, shows her seated on a terrace in
red dress with cloak lined with ermine and pearl neck-
lace (canvas 50 in. by 40 in.). u The Rev. Mr. Prince,"
for a portrait of whom a Mr. Palmer paid 25 guineas
on June 4, 1816, for " a three-quarter bought by the

212 SIR WILLIAM BEECHEY

committee of the Magdalen," was doubtless the " Rev.
John Prince," of whom a portrait was engraved by
Skelton. We have not been able to examine a copy of
this engraving.

Lord Burton's picture of Mrs. J. M. Raikes (canvas
30 in. by 25 in.), engraved in stipple by T. Nugent, is of
Charlotte, daughter of Nathaniel Bayly, wife of Job
Mathew, third son of William Raikes, of Welton,
Yorks ; it is, there can be hardly any doubt, identical
with the Mi's. Raikes of the 1807 Account Book ; from
the later entry it will be seen that the artist charged
five guineas extra for the painting in of a hand. Sir
John Chambers Reade, sixth baronet of Barton, Berks,
was a patron of Sir William Beechey, as may be seen
from the Account Books of 1811 and 1813, where we
have entries of payments for two whole-length portraits
of himself (born 1785, died 1866) ; one of his mother,
Jane, only daughter of Sir Chandos Hoskyns, Bart.,
whom she married January 13, 1784 (he died in Novem-
ber 1789), she died December 17, 1847; and one of
his sister, Jane, who died in April 1837. Three of
these portraits were sold at Christie's on July 13, 1895
(that of Sir John is erroneously described as of the fifth
baronet). The portraits of Lady Reade and her son
were acquired by M. Sedelmeyer, of Paris, and are
illustrated in his " Catalogue of Three Hundred Paint-
ings by Old Masters," 1898; they are now the property of
Mr. Rodman Wannamaker, of Philadelphia; that of
Miss Reade was purchased by Mr. Blakeslee, of New
York. Lady Reade is standing in a landscape in black

Collection A. Ilim-Jigit~

THE KAKL OF ST. VINCENT
J-'row tlif picture in the Collection of Tin- Latin llarri.t. C.I.

SOME OTHER PORTRAITS 213

dress trimmed with white lace, and with white lace
head-dress ; Sir John Chandos Reade is standing near
a pillar in blue velvet court dress, knee breeches, and
white stockings, holding his sword with his left hand ;
Miss Reade is in white silk and lace dress, tuning her
harp. The second of the two whole-length portraits
of the baronet was not sold with the others. One of
the many pictures known to us only through the
engraving is that of John Revoult, A.M., " Master of
Wai worth Academy," engraved by James Ward in 1798,
" from an original painting by Sir William Beechey,
R.A., presented to Mr. Revoult by the gentlemen who
had been educated under him as a token of their high
respect and affectional regard towards him." This
portrait shows Revoult to half-figure, in dark coat with
velvet collar and white neckerchief; he holds up in his
right hand a closed book, lettered " Introduction to the
Arts and Science?, 1798." The Right Hon. George
Rose (1744-1818), the statesman and political writer,
was painted by Beechey in 1802, and this portrait (35^
in. by 27^ in.), signed and dated " W. B., 1802," was
presented by his grandsons, Hugh Lord Strathnairn,
G.C.B., and Sir William Rose, to the National Portrait
Gallery in 1873 ; he is seated in a green-backed arm-
chair, in dark blue coat, white waistcoat and cravat,
and holds in his right hand a paper inscribed " George
Rose, Esq.11 It should be noted that the portrait of
Rose engraved by Vendramini for " The British Gallery
of Contemporary Portraits," i8ii,was at that time in
the possession of "Matt. Winter," so possibly the

214 SIR WILLIAM BEECHEY

engraved picture is a replica by Beechey. A portrait
of Lady Rons, second wife of the sixth baronet
(who in 1821 was created Earl of Stradbroke), was in
the Royal Academy of 1796, and has already been
mentioned; in 181 1 Beechey painted a " three-quarters "
of Lord Rous (1750-1827), in peer's robes, and this was
engraved in mezzotint by Charles Turner in the autumn
of the same year. A portrait of John, third Duke of
Roxburghe, the famous book collector (he succeeded
his father in 1755 and died in 1804), is mentioned in
Watts's " Cabinet of Modern Art" (p. IOO), and this is
also found in the Account Book of 1 789 ; it may be
identical with that of the Duke engraved (without
name of artist or engraver) in 1816 for W. Clarke's
" Repertorium Bibliographicum,"" and frequently re-
peated. A portrait of " Mr. Rudd of Yorkshire " is
named in " Public Charatcers, iSoo-i," p. 355.

A very early portrait, dated on the back 1784, of
Johann Peter Salomon, the violinist (1745-1815), who
organised concerts in which Mozart and Haydn took part
at the Hanover Square Rooms 1791-2, was exhibited at
Oxford 1906, No. 175; it is a half-figure portrait in
green coat, lace cravat and ruffles ; his right hand,
holding a pen, rests on a paper lying with some books
and a violin on a table before him. One of the most
delightful of Beechey's early pictures of children is the
property of Dr. Charles Shelley of Hertford, by whose
permission it is reproduced in this book ; it represents
John, only son of John and Martha Shelley, of Great
Yarmouth, born December 31, 1781, and died suddenly

SOME OTHER PORTRAITS 215

in London, July 28, 1835, after giving evidence before
a Parliamentary Committee : he was a partner in the
firm of Hurry and Co., of Yarmouth, Russia merchants,
and captain of a company in the Yarmouth Regiment
of Volunteer Infantry, 1805 ; and his sister, Charlotte
Ann Shelley, born in 1783, and died unmarried in
1815. The picture is referred to in Dawson Turner's
"Sepulchral Reminiscences," 1848 (page 74): "The
family [Shelley] are in possession of a portrait of him
as a boy not more than ten or eleven years of age,
walking with his sister. Sir William Beechey, by whom
it was painted, told me himself that he regarded it as
the best of his works." Dr. Shelley, the owner, and
Mr. John Shelley, of Plymouth (who has himself
furnished us with the biographical particulars), are
grandsons of the John Shelley in the picture. An
engraving by Parker, " three-quarters, sitting," is the
only known evidence of a portrait of Henry Addington
Viscount Sidmouth (1757-1844) : we have not seen this
engraving. The portrait painted in 1 808 of " Mr.
Simeon " was of Charles Simeon (1759-1836), the divine,
who was the incumbent of Holy Trinity, Cambridge,
1783-1836; this portrait is engraved in Dean Spence's
" History of the Church of England," vol. iv. p. 301.

Lord Ravensworth possesses at Ravensworth Castle,
Gateshead, a whole-length portrait (93 in. by 57^ in.)
of John Simpson, a young man leaning against a pillar,
in a canary-coloured suit and blue coat, knee-breeches
and dark stockings ; he was a son of John Simpson, of
Bradley, who married Anne, daughter of Thomas, Earl

216 SIR WILLIAM BEECHEY

of Strathmore ; the subject of the portrait died young,
and at his father's death the property was divided
between the two surviving daughters, Lady Ravens-
worth and Lady Dean Paul. Sir George R. Sitwell,
of Renishaw Hall, Chesterfield, has a very fine portrait
of his great grandmother, Alice, daughter of Thomas
Parkes, of Highfield House, Lancaster, and first wife of
Sitwell Sitwell, afterwards Sir Sitwell Sitwell (she died
in May 1797). A somewhat enigmatical entry in the
Account Book, under date June 5, 1826, "of Col.
Edwrards for a Bishop's half-length of Mr. Ashton
Smith for the Corporation, £159 los.," is explained by
the engraving by S. W. Reynolds and J.. P. Quilley,
which states that it is done " from a portrait painted by
Sir W. Beechey, R.A., and placed by his [i.e., Smith's]
friends in the Grand Jury Room at Carnarvon A.D.
1826." In the picture itself, Thomas Assheton Smith
(1752-1828) is seated, and wears a dark coat fastened
by two buttons, a light waistcoat ; to left is a table, on
which are a hat, inkstand and letter-address : " To Sir
William Beechey, R.A., Harley Street." The "Mr.
Stephens" of the 1789 Account Book was Samuel
Stephens, an intimate friend of the artist, and uncle of
the famousKitty Stephens, the ballad-singer, who married
the fifth Earl of Essex in 1838 ; the portrait (30 in. by
25 in.), which is dated 1789, is now the property of
Mrs. Fanny Snow (Stephens's great-granddaughter),
who has also two fine miniatures of the wife and
daughter by Lady Beechey ; very little is known of
Mr. Stephens, except that he was an excellent horseman,

SOME OTHER PORTRAITS 217

was married in 1781, and was alive as late as 1822.
A portrait of " Admiral Stevenson " was lent by Mr. W.
A. Geare to the Naval Exhibition, 1891 (No. 755 J).
The " Miss Tracy " of the 1791 Account Book was the
Hon. Henrietta Susan Tracy, only surviving child and
heiress of Henry, eighth Viscount Sudeley (who died
April 27, 1797); she was born November 30, 1776,
married December 29, 1798, her cousin, Charles Han-
bury, who assumed the additional surname and arms
of Tracy, and died June 5, 1839 : a portrait (obviously
not that of 1791) of this lady when a child, in white
frock, pink sash and shoes, kneeling on the ground
gathering shells, the sea and a boat in the background
(canvas 40 in. by 50 in.), was at Christie's on May 8,
1 897. A " three-quarters " portrait of the seventh
Viscount Tracy was sold at the same place on June 1 6,
1899.

By the kindness of Mr. E. S. Trafford, of Wroxham
Hall, Norwich, we are able to reproduce the exceedingly
fine portrait of his grandmother, Margaret Crowe, who
was born in 1772, married Sigismund Trafford in 1791,
and died in 1838 ; she was the eldest daughter and co-
heir of James Crowe, of Norwich, and is represented
in low white dress and powdered hair (canvas 30 in. by
25 in.). As with nearly every other distinguished
personage, Beechey painted at least two versions of his
portrait of Rear-Admiral Sir Thomas Trowbridge
(1758-1807) : one of these, nearly three-quarter figure,
in naval uniform, right hand resting on hilt of sword,
was engraved by Miss Bourlier for " The British Gallery

218 SIR WILLIAM BEECHEY

of Contemporary Portraits," 1822, when it was in
possession of the Earl of St. Vincent; it was again
engraved by VV. Hall for Jerdan's " Portrait Gallery,*"
1830-4. A second version of this portrait was lent to
the Naval Exhibition of 1891. Sir Francis E. Waller,
Bart., possesses a beautiful example of Beechey, a picture
of two young girls blowing bubbles ; they were daughters
(Georgiana, afterwards wife of the Rev. Sainsbury
Langford Sainsbury of Froyle, and Anna, wife of John
Jarrett, Esq., of Camerton Court) of Sir Wathen
Waller, Bart. The "John Ward," attorney (1756-
1829), whose portrait, a half-figure of an elderly
man, was engraved by Henry Meyer, may be identical
with the " Mr. Ward " of the R. A. 1823. In December
1814, Beechey en ters in the Account Book a payment of
50 guineas for a portrait of Lord Wellington ; this was
the great Duke (1769-1852), and the picture was
evidently a " three-quarters "(3° in. by 25 in.), engraved
by Skelton in December 1814 ; the Duke is seen to half-
figure in uniform, with numerous orders and decorations.
Meyer also engraved this portrait. Samuel Whitbread,
the brewer and M.P. (1758-1815), was also painted by
Beechey, and a mezzotint engraving of it by W. Ward
was published on June II, 1797; the engraving shows
him to half-figure in a square frame, in plain dark coat
and white cravat. Miss Wright, of Glenorleight, Kings-
wear, has two half-length portraits, one of Harriet Maria
Day, who married, January 28, 1794, Ichabod Wright,
Esq., of Mapperley, Notts, the translator of Dante ;
the second represents Princess Amelia.

JOHN* SHELLKY AXD HIS SISTER
By i>er»n'ni<ion of I>r. Charles K. tihrllei/

SOME OTHER PORTRAITS 219

It is impossible even to deal with the scores of ex-
cellent portraits and groups of which the identities are
no longer discoverable. One of the best known of such
groups is that in the Louvre, with the title, " Brother
and Sister.11 This has been so frequently engraved and
reproduced in various forms — an illustration of it ap-
pears in this book — that a lengthy description would
be superfluous. It may be stated, however, that the
little boy is in a crimson velvet suit with a lace collar,
whilst his sister is in white; this picture was in the
John Wilson sale, where it was acquired for 3810 francs
and presented to the Louvre by UArt in 1881.

Another picture may be here mentioned, a Portrait
of a Lady as Evelina, holding a letter, with a dog
(canvas 26 in. by 30 in.), as an instance of the rapid
increase in the market value of first-rate works by
Beechey. This picture, now the property of Lord
Hillingdon, was in the following sales: Blamire, 1863,
50 guineas; Broderip, 1872, 250 guineas; and S. Add-
ington, 1886, 900 guineas. An attractive whole-length
(27-^- in. by 22 in.) figure of a little girl in high-waisted
white frock and long white pantaloons with frills was
lent to the Exhibition at Birmingham in 1900 by Mr.
Henry J. Pfungst, and a reproduction of it is given in
this work, but nothing apparently is known as to the
identity of the child or of the history of the picture.

CHAPTER VIII

BEECHEY ACCOUNT BOOKS, 1789-91, 1807-1826

VERY little explanation is needed respecting the most
interesting entries which form this chapter. They are
taken from two of Beechey's private account books
which have been preserved : the earlier of these is, as
already stated, the property of Mr. Sydney Chancellor,
whose wife is a great-granddaughter of the artist ; the
later and more elaborate book is in the Library of the
Royal Academy ; and in each case the courtesy of the
owners has enabled us to make public a mass of highly
interesting information respecting Beechey and his
work. Unfortunately, these Account Books do not
cover the whole of the artist's long working career, and
probably the most interesting period of that career
would include the period 1792-1806, of which we have
only the Royal Academy exhibitions to show us some-
thing of what he was doing in that interval. It is to be
hoped that the Account Book or books covering this
period may yet be discovered. Both Account Books
were unknown to the author until the greater portion
of this work was finished in manuscript; but the
interesting facts and details revealed in these Account
Books have been utilised in chaps, i. to v., so far as

BEECHEY ACCOUNT BOOKS 221

they relate to or have any bearing upon the pictures
exhibited at the Royal Academy or in any other way
mentioned in those chapters. The same may be said
with regard to the portraits dealt with in chap. vii.
To annotate these lists would be a task of considerable
magnitude, and would swell this book to far beyond the
size of other volumes in the series. Nearly all the
entries tell us the date, size and price of each picture, and
any elaboration of these singularly interesting Account
Books must be deferred for a future Catalogue Raisonne
of Beechey's works. The entries are often far from
distinct, and are here transcribed verb, et lit.

1789. £ s. d.

Mrs. Coopers (large) . . . . . 10 10 o

Master C. Herbert (small) . . . . 55®

Master Crocket (small) . . . . 10 10 o

Miss Howard (small) . . . . . 77°

Mrs. Hale (small) . . . . . 5 5 o

Mrs. Soane (small) . . . . . 55°

Mr. C. Herbert (large) . . . . 10 10 o

Mrs. G. Herbert (large) . . . . 10 10 o

Lady Herbert (paid half) . . . . 10 10 o

Ditto (small, paid) . . . . 5 5 o

Bishopof Carlisle [John Douglas] (paid, also frame) 21 10 o

Mrs. Powel . . . . . . . 10 10 o

Lord Abergavenny (paid half) . . . 15 15 o

Mr. Stephens, Admiralty (not paid) . . 15 15 o

Mr. R. Herbert 10 10 o

Dr. Strachey ...... 105 o o

Mr. [or Mrs.] Lewes (paid half) . . . 10 10 o

Earl of Courtoun (paid half) . . . 42 o o

222 SIR WILLIAM BEECHEY

£ s. d.

Lord Henry Montague . . . . 10 10 o

Lady E. Montague . . . . . 10 10 o

L. [? Lady] M. Montague . . . . 10 10 o

Lady C. Montague . , . . . 10 10 o

Lord Dalkeith . . . . . . 10 10 o

Mrs. Longlands . . . . . . 10 10 o

Mr. Wynn (" Kit-Kat ") . . . . 15 15 o

Capt. Adams . . . . . . 55°

Mrs. Hume. . . .. . . . 10 10 o

Mrs. Clements 55°

Mr. Wheeler . . . . . . 55°

Lady C. Herbert . . . . . 10 10 o

Duke of Manchester (paid half) . . . 10 10 o

Mr. Herbert . . . . . . 10 10 o

Lord Norreys . . . . . . 2100

Lord Macartney . . . . . . 10 10 o

Sir H. Dash wood (paid half) . . . 52 10 o

Miss Stuart (not paid, small) . . . 10 10 o

Mr. Knox 2100

Duke of Montague . . . . . 10 10 o

Sir Wm. Codrington . . . . . 2100

Ditto . . . . , 10 10 o

Lord Beaulieu (paid) . . . . . 10 10 o

Duke of Roxborough [Roxburghe] . . 10 10 o

Lord Morton . ... . . . 42 o o

Lady Morton (paid half) . . , . 2100

Master Harris (paid half) . . . . 2100

Mrs. Oddie Family . . . . . 84 o o

Mrs. Maitland . . . . . . 10 10 o

Master Boyce . . . • . . % 10100

Mrs. Johnstone . . . .. 10 10 o

BEECHEY ACCOUNT BOOKS 223

1790 (PRICES RAISED).

£ s. d.

Mrs. Peirce . . . . . . 15150

Mrs. Simpson . . . . . . 15 15 o

Mr. [or Mrs.] Irwin . . . . . 15 15 o

Lady A. Carpenter . . . . . 10 10 o

Mr. C. Herbert . . . . . .,10100

Sir George Warren . . . . . 15150

Lord Herbert . . . . . . 15150

Lord J. Russel . . . . . . 15 15 o

Lord Tyrone . . . . . . 15150

Mr. Langlands (paid half) . . . . 10 10 o

Lord Porchester Family (paid half) . . 63 o o

Master Clayton . . . . . . 2100

Mrs. Wilmot (paid half) . . . . 15 15 o

Miss Keen (paid half) . . . . . 15 15 o

Mrs. Adair . . . . . . . 15150

Capt. Mears . . . . . . 15 15 o

Mr. Smith (paid half) . . . . . 15150

Lord H. Montague . . . . . 15 15 o

1791.

Mrs. Waddington (paid half) . . . 15150

Mrs. Bennet . . . . . . 10 10 o

Two copies, Lord Dalkeith . . . . 31 10 o

One do. Mr. Adair (paid) . . . 15 15 o

One do. Mrs. Herbert (not paid). . . 15 15 o

Mrs. MacNabb . . . . . . 15 15 o

Sir Henry Oxenden (paid half) . . . 15150

Copy of the D. of Montague [for] Mr. Oddie 1515 o

Ditto for Lord Aylesbury (not paid) 15 15 o

Ditto for Lord Cardigan . , . 15150

Mrs. Cox (paid half) 15150

224 SIR WILLIAM BEECHEY

£ s. d.

Lord Bulkeley (paid half) . . 15 15 o
Lord Bulkeley ......

Miss Tracey (paid half) . . . . . 15 15 o

Lord Forbes (paid half) . . 31 10 o

Mrs. Crump (paid, also frame) . . . 15 15 o

Mrs. Meaux (paid half) . . . . * 15 15 o

Mrs. Crocket . . . . • 10 10 o

Mr. Light (for copy of Ad. Houlton) . . 15150

PICTURES PAINTED AND MONEYS RECEIVED,

1807.

£ s. d.

Jan. Of H.R.H. the Prince of Wales,
for a half-length of His R.H.
sent to the Duke of Kent . . 84 o o

Of Mr. Foster, for a copy of Mr.

[Mrs.] Langley ? . .. 2100

Of Mr. Desenfans, for a portrait of

Earl St. Vincent . . . 42 o o
Feb. 2. Two months' after sight, of the
Corporation of Dublin, for a large
portrait of H.R.H. the Duke of
Cumberland . . . . 210 o o

Of Mr. Claxton (as half), [for a]

three-quarter . . . »,. 21 o o

Of Lady Hood, for a Bishop's half-
length of Sir Saml. painted for
Earl St. Vincent , , . 84 o o
15. Of Sir H. B. Neale, for a half-
length of himself, painted for
Lord St. Vincent . .,.'.» 84 o o

Of Mr. Webb (as half) . , ;. 21 o o

MRS. SHERIDAN* AS ST. CECILIA

(Copy from Sir Joshua Reynolds by Sir W. Beechey)

By permission of the Misses Cameron

BEECHEY ACCOUNT BOOKS 225

£ s. d.

Feb. 1 8. Of Mr. Webb (in full) . . . 21 o o
Of Mrs. Raikes (in part) . . 2100
Of Mrs. Tatnall [for the two Misses

T.] (as half) . . . . 52 10 o
Of Miss Dee, for H.R.H. Princess
Sophia of Gloucester, for copy of
the late Duke and frame . • . 52 10 o
Of Capt. Stevenson, for H.R.H. the
Duke of Cumberland, and for
half-length of himself and three-
quarter of H.R.H. the late Duke
of Gloucester, with frames, pack-
ings, &c 154 6 o

May 26. Of Ld. Breadalbane (in full), for

pictures and half-length frame . 75 7 °
June 4. Of Miss Mellon, as first payment . 60 o o
8. Of Mr. Raikes, as last payment for
Mrs. Raikes' portrait with a hand,
in addition to the three-quarter
put in . . . . 26 5 o

13. Of Mr. Tatnell (in full), for a pic-
ture of the two Misses Tatnell . 52 10 o
Bishop of Chester [Dr. H. W.

Majendie] . . . . 4200

Of Mr. Greenwood, for a whole-
length of the Duke of York,
presented by him to the Military
Asylum of the Drapers' Company 126 o o
For a large picture of Lord Nelson 210 o o
Of Lord St. Vincent, for a portrait

of Capt. Gray . , . . 84 o o

226 SIR WILLIAM BEECHEY

£ «•

June 13. Of Capt. Agar, for portrait of his

brother, Bishop's half-length . 94 10

Of ditto, for a picture of the Soldiers 21 o

Of Mr. Brown, for copy of his father 40 o

Of H.R.H. the Duke of York . 270 o
Of Mr. Pearce, for three pictures
of himself [probably Dr. Pearce,

Master of Jesus Coll. Cambridge] 15 15

Of the Duke of Gloucester . . 1515

Of Mr. Claxton (in full) . . 30 7

.£2152 o o
1808.

£ •- <*.

Jan. 1 6. Of Mr. Bolton [? Boulton], for

H.R.H. Princess Elizabeth . 50 8 o
Feb. Of Lord Mulgrave . . . 42 o o
22. Of Capt. Agar, as whole price for

a lady . . . . . 63 o o
Of Mrs. Caborn [probably wife of

Ridley Cal borne, M. P.] (as half). 21 o o
Of Mr. Simeon . . . . 42 o o
Mar. 1 6. Of Mr. Coventry (as half), for a
half-length containing two por-
traits of his daughters . . 62 10 o
Apr. 9. Of Mr. Pattison[Patteson](as half),

for a three-quarter . . . 2100
London Hospital, being the last
payment for two whole-lengths of
the late and the present Dukes
of Gloucester 20 o o

BEECHEY ACCOUNT BOOKS 227

£ «• d-

Apr. 9. Of the Marchioness Sligo (as half),
for a whole - length of Lord
Altimont and three-quarter of
herself . . . . . 99 15 o

22. Of Sir Henry Lushington, for a

picture of his father, Sir S.

Lushington . . . . 42 o o

23. Of Mr. Pattison (as last half). . 21 o o

28. Of H.R.H. the Duke of Gloucester,

for his sister's portrait . . 42 o o
30. Of Lord Gambier (as half), for a

three-quarter portrait of himself 21 o o
May 13. Of Dr. Dodsworth (as first half),

for half-length of himself . . 42 o o
Of the Marchioness Sligo (as last

half), herself and son. . . 99 15 o
21. Of Mr. Simeon, for a three-quarter

of Mr. Thomason . . . 42 o o
30. Of Mr. Sullivan, for half-length of

himself'forLordBuckinghamshire 84 o o
June 4. Of Mr. Towers, for three-quarter of

himself . . . . . 42 o o
6. Of Admiral Coffin, for three-quarter
of himself [i.e., Sir Isaac Coffin
who adopted the surname of
Greenly, 1811-13 » see a^so I^11
entries] . . . . . 42 o o

29. Of Mr. Coventry (as last half), for

Miss Coventry's portraits . . 62 10 o
28. Of Dr. Dodsworth (as last half), for

his own portrait, half-length . 42 o o

228 SIR WILLIAM BEECHEY

£ s. d.

July 2. Of the Duke of Gloucester, for a

copy of the Duchess . „ . 42 o o
ii. Of H.R.H. the Duke of Cambridge,
for his own portrait and copy of
ditto for H.R.H. the Duchess of
York ., . . . 84 o o

Aug. 5. Of Mr. Coffin, for a copy of Sir B.

Watson . . . . . 31 10 o
19. Of Mr. Gam bier, for three-quarter

picture of himself . . . 42 o o
Mr. Gambier, for the last half of

Lord Gambier . . . . 2100
Oct. 5. Of Mr. Hall (in part), for himself

and Mrs. Hall . . . . 63 o o
24. Mr. Leeds (as half), for a whole-
length of Mrs. L. . . » 84 o o
Nov. Of Mr. Ansley, for a portrait of
himself in the Lord Mayor's

Gown 42 o o

Of Mr. E. Simeon, for half-length

of his brother John . . . 94 10 o
Ditto of himself, a half-length, but

only charged a kit-catt . . 63 o o
Of Mr. Pearce (in part of frame) . 2100
Of the Marquess of Lansdowne,
as whole price for portrait of
Miss Gifford . . . . 42 o o

^1634 18 o

BEECHEY ACCOUNT BOOKS 229

1809.

£ 8- d.
Jan. 6. Of Mr. Hall (as last half), for Mrs.

Hall and himself . . . 63 o o
Of Mr. Brown, for a copy of Dr.

Paley . . . .. . 42 o o

20. Of Lord Ormond (in full), for Lady

Ormond's whole-length « . 105 o o
Feb. Of Mr. Pearce, for altering portrait

(three-quarter) of himself . . 20 o o
Mar. Of Mr. Dyke, for a three-quarter

with a hand . . . . 47 5 o

1 8. Mr. North, three-quarter . . 42 o o
29. Miss Mellon (in full) . . . 66 o o
May 3. Of Mr. Bott [? Batt] (in full), for
the portrait of his Majesty, sent
to the Duke of Kent at Gibraltar 84 o o
Oi Lord Cawdor, for a portrait of
Mr. Greville, painted by Sir
Joshua Reynolds . . . 52 10 o
15. Of Admiral Markham . . . 40 o o
1 8. Of Mr. Myers (as half), for a
whole-length — himself and two
children . . . . V 126 o o

Lady Dufferin (as half) . . . 2100
24. Lord Porchester (as half) . . 2100
31. Mr. Foster (as half), for Bishop's
half-length of Lady Ferrant and
Lady Dufferin . . . , 78 15 o
[This " Mr. Foster " was un-
doubtedly the Right Hon. John
Foster, last Speaker of the Irish

230 SIR WILLIAM BEECHEY

£ s. d.

House of Commons, and the
" Lady Ferrant " his wife, Vis-
countess Ferrard ; she was created
Baroness Oriel, June 5, 1790,
and advanced Nov. 7, 1797, to
the dignity of Viscountess Fer-
rard ; her husband was created
Baron Oriel in 1821 ; Lady Duf-
ferin was their only daughter]

Mr. Brown, for three-quarter of

Sir R. Preston . . . . 31 10 o

Lady Dufferin (last half), for three-
quarter . . . . . 21 10 o
July 7. Of Mr. Eardley, three-quarter . 4200

13. Of Mr. Baugh [? Mr. Isaac Baugh]

(as last half), for Mrs. Haire's [?]

portrait . . . . . 42 o o

14. Of Mr. Brown (last half), for Sir

R. Preston, three-quarter . . 10 10 o
Mrs. Cuboam[?Calborne] (last half) 21 o o
Aug. 2. Of Lord Bulkeley (last payment),

for half-length and servant . 68 5 o
io. Mr. Pettit (first half) . . . 2100
Sept. i. Of Admiral Mark ham (as last half),

for a half-length portrait . , 38 15 o
3. Of Mr. Pettyt (last half), three-
quarter . . . . . 21 O O
9. Of Lord Porchester . . . 21 o o
Oct. 4. Of Mr. Myers (as last payment),
himself and children [probably
Ex. at R.A. 1810, No. 21] . 126 o o

MRS. SIDDOXS
Rational Portrait

BEECHEY ACCOUNT BOOKS 231

£ s. d.

Oct. n. Of Gen. Erskine (as half), for Lady

Louisa Erskine . . . * 2100

Nov. 6. Of Mr. Leeds (last half), for Mr.

[? Mrs.] Leeds . . < . 84 o o
24. Of Sir Henry Halford (first half),

for half-length himself . . 42 o o

29. Of Mr. Form (as half), for whole-

length himself . . . . 84 o o
Dec. 29. Of Mr. Vincent, for portrait of His

Majesty . . . . . 42 o o

30. Gen. Erskine, last price Lady Louisa 31 10 o

^1524 10 o

Received for frames, &c. . 181 17 6

Portrait Mr. Greville . . 52 10 o

1810.

£ s. d.
Jan. 10. Of Mr. R. [? Mathew] Boulton, for

a copy of Mr. Boulton for Mr. J.
Watt, and also one of ditto for
Miss Boulton . . . 147 o o

Feb. 17. Of Mr. Forin (in full) . . / 84 o o
19. Mr. Hesketts [? Hesketh], three-
quarter . . . . .- 42 o o
23. Of Mr. Loftus (half), three-quarter 21 o o
26. Of Mr. Cochran . . . . 2100
Mar. 10. Lady de Clifford (as part), for Lady

Albemarle . . . . 42 o o

15. Mrs. Loftie [? Loftus] (in full) .' 2100

232 SIR WILLIAM BEECHEY

£ s. d.

Mar. 21. Mr. Cochran, for Mrs. C. . . 31 10 o
23. Ditto . . . . . 15 15 o

Mr. Green, for Mr. Dickens [? Mrs.

Dickons] . . . . . 94 10 o
May 4. Of Mr. V. Green, for a study of a

head sold at the British Gallery . 2100
5. Of Mr. Hesketh, for two portraits

of Mr. L. and Miss H. . . 84 o o
Of Sir J. Leicester (as half-price),

for the Duke of Gloucester . 105 o o
ii. Of J. Coventry, Esq., for his own

portrait . . . . . 42 o o
June 7. Of Sir J. Duckworth . . . 84 o o

1 8. Of Mr. Egerton (as half), for a

whole-length of himself . . 84 o o

19. Of Mr. Simmond (as half), for Mrs.

S.'s portrait, three-quarter, with
one hand . . . . . 25 o o
July 8. Of the Rev. Dr. Simmonds (an old

debt) 3100

9. Of Dr. Burnaby, for a half-length

portrait of Gen. Paoli . . 84 o o
13. Of Mr. I. Symmonds, for his own

portrait . . . . . 25 o o
25. Mr. Cochran . . . . . 26 5 o
Aug. 3. Of Mr. Symmonds . . . 39 5 o
7. Of Sir T. Bernard, for a picture of

the Recording Angel . . . 42 o o
Of Mr. Astell [i.e., William Astell,
M.P., a Director of East India
Co.], for the portrait of the
Persian Ambassador . 262 10 o

BEECHEY ACCOUNT BOOKS 233

£ s. d.

Aug. 1 1 . Of Mr. Symmonds, to make up the
fifty each for two three-quarter
and twenty for the frames [?] . 36 1 5 o

Sept. Of Mr. Egerton (last half), himself 84 o o
Of Mr. Coventry, for a half-length
of his son (prices raised) . . 105 o o

Oct. Of Mr. Foster (last half), for Ladies

Ferrant and DufFerin . . . 78 15 o

Nov. 24. Of Mr. Hall, for a second picture

of Mrs. H. . . . 63 o o

26. Of Major Aubrey's Lady (as first

payment) ..... 100 o o
Of the Dublin Society, for a whole-
length of Mr. Foster [doubtless
the Rt. Hon. John Foster, see
1809] ..... 210 o o

Dec. 2 1 . Of Mr. Baker (first payment), three-
quarter . . „ . 26 5 o
22. Sir A. Hume, for a copy of Rem-
brandt . . . . . 52 10 o

^2231 12 o

1811.

£ •- d-

Jan. 28. Of Mr. Baker (last half), three-
quarter . . . . . 26 5 o
Feb. 22. Of Lord Rous (as first half), himself 26 5 o

24. Mr. Longlands, for a portrait of his

father . ... 26 5 o

25. Of Mr. Lewis (first), half-length

himself . . . . . 52 10 o

234 SIR WILLIAM BEECHEY

£ «. d.

Feb. 27. Of Mr. Sandford (first), for half-
length of H.R.H. the Duke of
Cambridge . . . . 52 10 o
Mar. 14. Of Lord Rous . . . . 26 5 o
Of Lady de Clifford (as last pay-
ment), for Lady Albemarle . 52 10 o
Mrs. Aubrey (last half) . . . no 10 o
Apr. 6. Mr. J. Trotter . . . . 31100
May 2. Mr. Lysaght [? Lysart] . . . 26 5 o

7. Mr. Waithman [probably R. Waith-

man, 1764-1833, Lord Mayor,

1823, and M.P.] . . . 26 5 o

10. Mrs. Carey, for " Hebe " . . 136 10 o

8. Of Mr. Lewis (last half) . . 52 10 o
15. Mr. T. Bernard, for a small copy of

his Majesty at a review in Hyde

Park . . . . . . 52 10 o

29. Mr. Wainman [? Waithman] (last

half), own portrait . . . 26 5 o

June 1 3. Mrs. Binnoch .... 100 o o

Before (on account) . 45 o o

22. Of Mr. Davey, three-quarter . . 52 10 o

21. Sir H. Halford . . . . 42 o o

25. Mrs. Towers, copy of Mr. Towers . 5210 o

July 4. Of Mrs. Blaaw, for a portrait of her

son, to be sent to Eton . . 52 10 o

9. Of Capt. Lysart (last half) . . 26 5 o

11. Of H.R.H. the Duke of Cambridge

(in full), for a copy of his por-
trait, sent to the Duchess of York 52 10 o
15. Mr Skirrow (owe j£io) . . 52 10 o

BEECHEY ACCOUNT BOOKS 235

£ s. d.

Aug. 20. Lady Warburton (half-price), two

pictures . » . . . 210 o o
23. Of Mr. Brown, for portrait of Sir R.

Preston . . . . . 52 10 o
28. Of Mr. Astell (as first payment) . 26 5 o
Of Mr. [? Mrs.] Astell . . , 26 5 o
Lord Maynard . . . . 52 10 o
Nov. Of Sir J. Reade .... 210 o o
28. Of Sir I. Coffin-Greenly, three-
quarter . . . . . 52 10 o
30. Of Mr. Cholmondeley (as part), for
Sir R. Warburton's picture and
frame 118 18 o

Total for the year 1 81 1 . 1987 o o

Of Mr. Payne . . . 105 o o

^£2092 o o

1812.

£ s. d.
Jan. 3. Of Lady Read's whole-length, and

£20 over ..... 230 o o
Feb. 7. Of Capt. Mathews (as first half), for

Mrs. M. . . . . 26 5 o
ii. Of Mr. Sault [i.e., William Salte]

(as first half), three-quarter . 26 5 o

Mar. 10. Of Mr. Roberts (as last payment) . 67 10 o

ii. Mr. Payne ..... 105 o o

Apr. 19. Of Mr. Sault (last half). . . 26 5 o

27. Of Mr. Hodson (as last price), Mrs.

Hodson . . . . «. 26 5 o

236 SIR WILLIAM BEECHEY

£ s. a.

May 4 Of Mr. Hesketh . . . . 52 10 o
30. Of Mr. Dunn, tor a copy of Col.

Reade's portrait . . . 52 10 o
June 1 6. Of Mr. Cholmondly (^30 bank-
notes and £50 three months
after date) . . . . 80 o o

July 18. Of Lady Warburton, for Sir Peter

and herself (last payment) . . 210 o o
25. Of Mr. Mathews . . , . 26 5 o
28. Charles Gambier . . . . 52 10 o
Aug. 26. Of Mr. Thompson, for whole-length

of himself and dog . . . 262 10 o
Sept 9. Of Mr. Cholmondeley (note, dated
Oct. 10, and a £i note), for Sir
Peter Warburton's picture (in
full) . . . V. . 51 o o
24. Mr. Salt, for copy of himself . , 52 o o
Sir G. P. Turner (one note for two
months, dated Aug. 28, ^£400,
other four months, ^£366 i os. 6d.) 766 10 6
Oct. 28. Of her Majesty .... 131 5 o
Dec. 3. Of Mr. Hodson . . . . 26 5 o
8. Mr. Ball 52 10 o

^2222 15 6
1813.

£ s. d.

Mr. Hesketh (in full) . . . 53 o o
Feb. 8. Of Sir A. Clarke (to make up half-
price), for whole-length of him-
self 40 5 o

HOWE PETER, SECOND MABQUXM OF SLIGo

I!if permission oj' the Martjuts* Q/' Sligo

BEECHEY ACCOUNT BOOKS 237

£ s. d.

Feb. 22. Of Sir J. Leicester, for last pay-
ment of the Duke of Gloucester 105 o o
26. Of Mr. Pearse, for two three-
quarter pictures . . . 105 o o
Mar. 1 6. Of Mr. Wilkins, for his portrait (half) 26 5 o
May. Of Sir A. Clark . . . . 36 15 o
19. Of ditto (in full), for a whole- length

in robes of the Bath . . . 63 o o
June 1 1. Of Sir Bellingham Graham (as

half), for whole-length . . 105 o o
Mr. Sandford (a draft, dated July i,
1813), for last payment of the
Duke of Cambridge . . . 52 10 o
July 26. Of Sir J. Reade (as first payment),
himself and sister (owe ^9 ios.,
being guineas) . . . . 150 o o
Of Lady Arden, for a portrait of

Mr. Perceval, three-quarter . 52 10 o
Mr. Lefort [? Lahorte], portrait of

his wife . . . . . 52 10 o
Mrs. Gambier, for two portraits of

Mary and Edward, three-quarter 105 o o

and altering her own ditto . 15 15 o

Of Sir J. Read (last half) . . 163 o o

June 23. Of Mr. Free . . . . . 52100

^1225 10 o

1814.

£ ». d-
Of Col. Hamilton, for portrait of

his son . . . . . 30 o o

238 SIR WILLIAM BEECHEY

£ s. d.

Sir Thomas Bernard, head of Lady

Cawdor . . . . . 25 o o
Mar. 15. Of Sir John Beresford (as first pay-
ment), for Lady B. and child,
whole-length . . . J35 5 °

Apr. 1 6. Of Bishop of Chester [G. H. Law],

for a half-length of himself . 126 o o
23. Of Mrs. Powell, for portrait of her-
self, half-length . . . 105 o o
Of Mrs. Michlurst [?] (half-pay-

ment), for three-quarter . . 26 5 o

30. Of Sir H. Agnew (first payment),

for half-length of his mother . 53 o o
June 6. Of Mr. Torris [?], for half-length of

Mr. Huddleton (first payment) . 50 o o
23. Sir B. Graham (last payment) . 105 o o
28. Sir J. Beresford (last payment, sent
to Hammersley, 150 [gns.], on
I )ru inuioiHl) . , . . I355°
July 26. Of Gen, Long, for a portrait of his

father . . . . . 73 10 o
Aug. Of Col. Hamilton (as last payment,

and something for frame) . . 25 o o
20. Mr. Thompson, 200.*

31. Of Lord Hill (first half), for a

whole-length .... 105 o o
Sept. 5. Of Mrs. Micklurst [?] . . . 26 5 o
12. Of Col. Arbuthnot, for a three-
quarter 52 10 o

* Apparently a memorandum rather than a payment, as the
amount is not carried out in the column.

BEECHEY ACCOUNT BOOKS 239

£ s. d.

Sept. 12. Of Mr. [or Mrs.] Brook (in part of
^126), for a naked boy as St.
John . . . . . , 50 o o

Oct. 12. Of Mr. Lane (as half), for himself,
whole-length for the Goldsmiths'
Company, to whom he was clerk
thirty years . . . . 105 o o

Nov. 19. Of Mr. Lane (the last payment) . 105 o o

Dec. 1 4. Of Lord Beresford (by the hands of
Arthur Macdonald, Esq.), for a
portrait of Lord Wellington . 5200
1 8. Of Mr. Brooke, in part-payment of

Master B.'s portrait . . . 5500

^1432 10 o
1815.

£ •• d.

Jan. 6. Of Mr. Torris [?], for Mr. Hudles-

ton (last payment) . . . 5500
20. Duke of Gloucester . . -. 5000
13. Of Miss Balloch, for Capt. Watson 52 10 o

26. Of Mr. Huddleston, a three-

quarter of himself . . . 52 10 o

27. Of the Freemasons (in part of 200

[gs.]), for H.R.H. the Duke of

Kent ...... ico o o

Feb. 2. Of Lord Hill (bill, 30 days' date,

Jan. 26, ^152 55.), for picture . 105 o o

ii. Of Col. Grey (half-price) . * 26 5 o

Mar. 9. Of Mr. Long . . . . 26 5 o

27. Of Mrs. Tower (as half), for Capt.

Tower 26 c o

240 SIR WILLIAM BEECHEY

£ ». d

Apr. 14 Of Mr. Watkins (as half), for a
three - quarter picture, painted
some years ago, and ditto, for
Mrs. Watkins, and whole-price for
his own ditto, pain ting at this time 92 o o
20. Of Mr. Long . . . . 26 5 o
1 8. Of Mr. Davis, for a three-quarter

portrait of himself . . . 52100
May 8. Of Mr. North, for a copy of Dr.

Harrison . « . . . 26 5 o
15. Of Lord Selsey, for a portrait of his

son, Capt. Peachey (half) . . 63 o o
Of Mr. Phipps, for a picture of the

Battle of Constantine . . . 105 o o
June 10. Of the Hon. Capt. King, a three-
quarter of himself . . . 52 10 o
15. Of Lord Selsey, for Bishop's half-
length of Miss Peachey (being
half-price) . . . . . 63 o o
July. Lady Owen (half) . . . . 26 5 o
Mr. Blades (half) . . . . 26 5 o
Mr. Gooch (half) . . . . 52 10 o
29. Of Mrs. Towers (last half), of Capt.

Towers 26 5 o

Aug. Of the Freemasons (as part-pay-
ment), for the portraits of
T.R.H. the Dukes of Kent and
Sussex . . . . . 200 o o
Sept. Of Mr. Brooke (being the whole),
for the little St. John (frame
still due) 2100

BEECHEY ACCOUNT BOOKS 241

£ s d-
Sept. 1 8. Of Freemasons, for the portraits of

T.R.H. the Dukes of Kent and
Sussex . . . . 1 20 o o

Oct. 3. Of Mr. Blades (last half) . . 26 5 o
Nov. 3. Of Lady Berwick, for portrait of

Lady Bosworth, half-length . 50 o o
n. Of Sir Thomas Bernard (as half),

for Lady Bernard . . . 63 o o
Dec. Mr. Palmer (half), for three-
quarter 26 5 o

;£l6l2 O O

1816.

£ s. d.

Jan. (Last half) Mr. Palmer . . . 26 5 o
Of Mr Makepiece . . . . 25 o o
Feb. 5. Of Lord Berwick . . . . 55 o o
Lord Selsey (in full), for Capt. and

Miss Peachey . . . 126 o o

10. Of Mr. Picton, for a portrait of
Sir Thomas Picton, who fell at
Waterloo . . . . . 52 10 o
1 2 . Of Sir Andrew Agnew, as last pay-
ment for Mrs. Agnew . . 52 o o
Mar. 15. Of Sir T. Bernard (as last half) . 66 o o
Of Sir R. Preston, for a copy of

Mr. Brown . . . . 52 10 o
May 7. Of Sir R. Preston, a three-quarter

of himself. . . . . 52 10 o
Of Mr. Watkins, for copy . . 2100
25. Of Wm. Wilkins, for a copy of Mr.

Wilkins . . . . 26 5 o

Q

242 SIR WILLIAM BEECHEY

£ s. d.

June i. Of Sir Robert Preston, for a copy
of Lady Preston, a three-quarter
picture . . . . . 52 10 o
4. Of Mr. Palmer, for portrait of the
Rev. Mr. Prince, a three-quarter,
bought by the Committee of the
Magdalen . . . . .2650
22. Capt. Welbank, for a copy of Mr.

Brown's portrait . . . 52 10 o

July 16. Of Lady Owen . . . , 52 10 o

17. Of Gen. Wetherall . . . 25 o o

1 8. Of Gen. Wetherall (in full), for his

portrait, no frame . . 27 10 o

Of Mr. Harrison, for Mr. Prince's

portrait (in full) and frame . 26 5 o

29. Of Sir Robt. Arbuthnot, for portrait

of Lady A. and her children's
portraits ..... 100 o o
Aug. Of Mr Grenvill (in part), for Mr.

Collins's portrait, half-length . 42 o o
17. Of the Countess of Loudoun and
Moira, for a whole-length of her-
self . . . . . 210 o o

19. Of Mr. Grey (for Col. McMahon, on

account of H.R.H. the Prince
Regent), for a portrait of Mr.
Percival . . . . , 52 10 o

30. Mr. Gooch (last half), for a half-

length of Mrs. Gooch . , • 52 10 o
Oct. 25. Of the Rev. Dr. F. Piggot (as half-
price), for a three-quarter . v 26 5 o

THE TAMBOURINE GIRL

liij permission oj' Alesurn. Thou. Agneic .» Xn/

BEECHEY ACCOUNT BOOKS 243

£ s. d.

Nov. 5. Of Mr. Graham (as last half), for

the Rev: Dr. F. Piggott . ; 26 5 o

Dec. 4. Of Sir Robert Arbuthnot, for two
three-quarters of Prince Blucher
and the Hetman Platoff, for Lord
Beresford . . . . 105 o o

1817.

£ s. d:

Jan. 4. Of Mr. Gordon (in part), for a

whole-length of himself . . 80 o o
30. Ditto . . . . . . 52 10 o

Feb. i. Of Mr. Hall, for a copy of Gen.

Picton . . . . . 52 10 o

13. Of Mr. Graham, for a copy of a
drawing, by Downman, of Mrs.
Piggott (half) . . . . 26 5 o

19. Ditto (last half) . . . . 26 5 o
Of Mr. Graham (for the remainder

sum due), for the half-length [?]
portrait of Mr. Collins, a picture
voted by the [Parish of] Marabone
[? Marylebone] . . . , 63 o o
Mar. 9. The Bishop of Ely [Dr. B. E.
Sparke] (first half), Bishop's half-
length . . ... 63 o o
ii. Of Capt. Beresford (as half), for

himself and sisters, three-quarter 5* 10 o

20. Of Mr. Gordon [the £2$ is

apparently scratched out] . . 25 o o

244 SIR WILLIAM BEECHEY

£ s. d.

Mar. 27. Of Col. Beresford (last half), for
himself and Mrs. [Misses] Beres-
ford, three-quarter . . . 52100
Apr. i. Of Mrs. Evelyn Pulteney, for half-
length of herself . . . 126 o 0
3. Of Mr. [Watts] Russell, for a Kitt

Katt of himself (as half) . . 39 7 6
ii. Of Mrs. Gosling (as half), for a
half-length of her two daughters
and three-quarter of her own . 105 o o
15. Of Mr. Coutts, for a portrait of

himself and a copy of ditto . 105 o o
May 6. Of Mr. Gordon (last payment),
for whole-length ; also frame,
^£31 IDS. . . . . . 52 10 o

14. Of Mr. Wilton, for a copy of Mr.

Collins, half-length . . 105 o o

22. Of Mr. Watts Russell (as last half),

for his own portrait, Kitt Katt . 39 7 6
Also for a small picture of Venus . 2100
24. Of Mrs. Coutts, for a portrait of

herself . . . . . 52 10 o

June 1 1. Of Mr. Harkwright [? Arkwright]
(as first payment), for himself
and Mrs. Harkwright, three-
quarter . . . » . 52 10 o
Aug. 8. Of Mrs. Gosling (as last payment),
for the Miss Goslings, and three-
quarter of Mr. W. Gosling >, 105 o o
Sept. 2. Of the Prince Regent, from the
Lord Chamberlain's Office, for

BEECHEY ACCOUNT BOOKS 245

£ s. d.

altering the large picture of his
Majesty on horseback, &c. , 105 o o

Sept. 4. Of Mr. Coutts (as half), for a

whole-length of Mrs. Coutts . 105 o o
Of Mr. Watkins, for a copy done

before . . , . „ 25 4 o
6. Of Sir — Stuart (as first payment),
for Miss Stuart's (both in one
picture), Bishop's half - length
(owing the shillings to make it
guineas) . . . . . 90 o o
22. Of Mr. Braham . , . 100 o o

Nov. 4. Of Sir Thos. Stanley (as half), for a

half-length of himself . . 52 10 o
Dec. 2. Of Mr. Fredk. Noel (as half), for a

Bishop's half-length of Mrs. Noel 63 o o
Omitted — Prince Regent's por-
trait of Mr. Percival . . . 52 10 o
Marquis of Anglesea . . . 52 10 o
Received for frames, packing-cases

&c. . . . . . . 129 o o

^2070 10 o

1818,

£ »> d.
Jan. i . Of the Bishop of Ely (as last half),

for his own portrait . . . 63 o o
1 6. Of Mr. Coutts, for a picture of

Lord Erskine, three-quarter . 52 10 o
29. Of Sir George Campbell, for

Bishop's half-length of himself . 6^ o o

246 SIR WILLIAM BEECHEY

£ s. d.

Feb. Of Mr. F. Noel (as last half), for

Mrs. Noel . . . . 63 o o

21. Sir George Campbell (last half), for

his own portrait. . . . 63 o o

Mar. 4. Of Capt. Grey (as last payment)

for a Kitt Katt of himself . . 52 10 o

Apr. 10. Of Mr. Eardley (as last half), for a

Kitt Katt of Sir Cullin Smith . 39 7 6
Of Sir John Leach, for a three-
quarter (first half) . . . 26 5 o

21. Of Mr. Gosling (first half) . . 26 5 o
Of Mr. Coutts (as last half), for

Mrs. Coutts' whole-length . . 105 o o
May 5. Of Sir J. Leach (as last half) . . 26 5 o
6. Of Mr. Ferguson, for a three-
quarter portrait of himself . . 52 o o
10. Of the Princess Mary, for a

Bishop's half-length . . . 126 o o
Of H.R.H. the Duke of Gloucester

(as half), for a Bishop's half-length 63 o o
15. Of Mr. Andrews (for last half), for
Miss Stewart's portraits, painted
for Mrs. Coutts . . . . 94 10 o

22. Of — Curzon, for two copies of

Lady Sligo (overpaid by ^5 by

mistake) nooo

29. Of Mr. Forrestier (as half), for a
whole-length of himself (wanting
shillings) [to make ^105] . . 100 o o
June 3. Ditto, for first payment of Lady

Catherine . no o o

BEECHEY ACCOUNT BOOKS 247

£ s. d.

June 4. Of Lady Stanley (as half), for her

Ladyship's portrait, half-length . 52 10 o
8. Of Mr. Eardley (as last payment),

for Sir Cullin Smith, Kitt Katt 39 7 6
Of Mr. Pedley, for a portrait of

Miss Lee, Kitt Katt (in part) . 50 o o
July 2. Of Mr. Grenfell (for a part of
100 guineas), to finish a picture
of Mr. Hoppner's . . . 52 10 o
18. Of H.R.H. the Duke of Gloucester
(as last payment), his own por-
trait . . . • * 63 o o
Of Mr. Greenwood, for the last
payment of Mr. Collins' portrait,
for the Parish of Marylebone . 3110 o
Aug. 4. Of H.R.H. the Duke of Cambridge,
for the portrait of H.R.H. the
Duchess (as half for a whole-
length) ..... 105 o o
14. Of Sir Henry Dash wood (as last
half), for his family, painted
twenty-five years ago . , 42 o o
Mr. Grenfell, for finishing a picture

of Hopner's . . . . 52 10 o
Oct. Of H . R. H . the Duke of Cambridge

(as last half) . . * . 105 o o
Ditto, for a copy of the Duke of
Cambridge, for the Duke of
Sussex . . . * . 52 10 o
Nov. 17. Of Mr. Pedley (last half), for Miss

Lees' Kitt Katt . . 50 o o

248 SIR WILLIAM BEECHEY

£ s. d.
Dec. 4. Of Mrs. Mathews [or Mathers] (as

half), three-quarter (prices raised) 31 10 o
12. Sir Thomas Stanley, for himself

and Lady Stanley . . . 100 o o

^£2158 10 o
1819.

£ s- *
Jan. 6. Of Sir R. Barclay (as half), for

three-quarter of himself . . 31 10 o

15. Ditto (last payment) . . . 31 10 o

Feb. 14. Mr. Ainsley (as half) . . . 31 10 o

17. Of Lord [?Sir T.] T. Stanley (in

full), for the portraits of himself
and lady . . . . . 31 5 10
20. Of Mr. Perry (as half), for Bishop's

half-length (prices raised) . . 87 15 o
Mr. Mather (^40, as last half), for

himself, three quarter . . 31 10 o
Mar. 15. Of Ashton Smith (as half), for Mr.

Leicester's picture, half-length . 63 o o

1 8. Of Sir Charles Poole (as half),

Kitt Katt 47 5 o

The Duchess of Dorset (in part), of
Lady Delawarr's portrait, whole-
length, in half-length canvas (due
as half-price, £4 55.) . 85 o o

22. Of Lieut. Perry (in part). Bishop's

half-length . . . . 105 o o
Apr. 10. Of the Marchioness of Abercorn
(as half), for Miss Campbell
(being ^2 155. over half) . . 50 o o

PIT? DAVID W1LKTE, R.A.

Xiitional Gallery of Scotland

BEECHEY ACCOUNT BOOKS 249

£ s. d.

April 1 2. Of Lady Fitzherbert (as part),

three-quarter (^8 ios. over) . 40 o o
15. Of Col. Stephenson, for H.R.H.

the Princess Augusta, half-length 105 o o

26. Of Mr. Littleton (as half), for Mrs.

Littleton . . . . 105 o o

27. Of Mr. Eardley, for a picture of

of Miss Twisston [?] as " Hebe " 315 o o
May 19. Of Mr. W. Blomfield (as half),
three-quarters (overpaid,
£i ios.) . 33 o o

Of the Rev. Mr. Turner, for three-
quarter himself . . . . 63 o o
June i. Of Mr. C. Baseley (first payment —

due, jQi ios.) . ... . 30 o o
14. Of Mr. Forester, for Lady C. and

himself (last half) . . . 210 o o
19. Of Mrs. Caithrow (as half), herself,

half-length . . . . 65 12 6
22. Lady Harriet Windsor (as half), for

three-quarter, herself . . 31 10 o
26. Mr. Pulteney, for a Bishop's half-
length himself . . . 157 10 o
July 8. Of Mr. Blomefield (last half),

three-quarter himself (in full) . 30 o o
Aug. 12. Mrs. Plowden (as half) for the
Miss Plowdens, two in one pic-
ture, half-length . . . 97 2 6
Mrs. Caithrow . . . . 65 1 2 6
31. A. Smith, for Mr. Ley cester (in full) 68 5 o
Sir Thos. Poole (in full) . . 47 5 O

250 SIR WILLIAM BEECHEY

£ s d.

Oct. 12. Of Mr. Parry (as last payment), for
Lieut. Parry (to be paid Nov. 10
to bankers) . . . . 52 10 o
Nov. 3. Mrs. Plowden (as last half) . . 97 2 6
15. Of the Marquis of Anglesea, for

Mr. Leicester . . . 126 o o

29. Of Mr.. Inglis, for the portrait of

Miss Robertson, three-quarter . 63 o o
Sir Henry Fitzherbert (as last half),

for Lady F. and frame, &c. . 23 o o

.£2296 15 10

1820.

£ 3. d.

Feb. 23. Of Mr. Leicester, for a three-
quarter portrait of himself . 63 o o
26. George [? Beechey], for Lady

Waldegrave . . . . 50 o o
Mar. 3. Mr. Slade (for the first payment),

for Alderman Thorpe . . 78 15 o
26. Of Mrs. Gosling, for Mr. Robert

Gosling (last half) . . . 26 5 o
Apr. 20. Lord Anglesey (first half), three-
quarter, himself. . • . 31 10 o
25. Mr. Coutts, for a three-quarter

copy of Mr. Crawford . . 63 o o
May i . Lady Cosen [?] . 30 o o

22. Of Lady Maynard (for first pay-
ment), of a Kitt Katt of Mrs.
Woodford . . . . . 50 o o
24. Mr. Leake (for half), Sir G. Noel,

three-quarter . . . . 31 10 o

BEECHEY ACCOUNT BOOKS 251

£ s. d.

May 28. Mr. Scarlett (as half, £2 128. 6d.

due) -'. 15 15 o

June 5. Lord Aylesbury (last half) . . 31 10 o
12. Mrs. Meyrick (as half), for Miss

Fuller as " Una " . . 89 5 o

July 3. Of Mr. Pragser (last half), for his

own portrait . . . . 78 15 o
14. Of S. H. Carew (a bill, dated
June 28, three months, due
Oct. i) , . . 29 2 6
Also ^15 15 o o

22. Of Mr. Leake, for Sir Gerard Noel

(last half; ditto frame, ;£io IDS.) 31 10 o
24. Of Mr. Pulteney, for himself

Mrs. Cluer . . . . . 31 10 o
Aug. 2. Of Capt. Fowler, for his father

23. Of Mrs. MeClintock, for three-

quarter of herself . . . 63 10 o
George [? George Beechey] . . 2100
Mrs. Hart (as half), for her

daughter . . . . . 52 10 o

Sept. i. Of Lady Chambers (as half), for a

little girl . „ . . 65 10 6

28. Of Lady Ranelegh, for a portrait of

Lord Ranelegh . , . 63 o o

31. Of Mrs. Meyrick (as last half), for

Miss Fuller . . . . 89 5 o

Of Mr. Feardall [?] (^52 ios., due

Oct. 9) ... . . . 52 10 o

Nov. Of Mrs. Hart, for a portrait of Miss

Reading (last half) . . 52 10 o

252 SIR WILLIAM BEECHEY

£ «• «*.

Dec. 3. Of Mr. Scarlett (as last half and

frame) . . . . . 68 5 o

£1426 3 o
1821.

£ •• *

Jan. 1 6. Of Mr. Goodrich (in part of

500 guineas . . . 105 o o

Feb. 8. Ditto (bills, one month) . . 420 o o

28. Of Mr. Hodgson (as first payment),

three-quarter . . . . 31 10 o
Mar. 3. Of Mr. Anderton (as half), for their

little boy 31 10 o

Apr. i. Of Mr. Devitt (as half), for Mrs.

Devitt . ... . 31 10 o

21. Of Lady Chambers (as last half), for

Miss Yeld . . . . . 65 1 5 6
May ii. Of Mrs. Berwick (as half), for a

whole-length . . . . 131 5 o
19. Of Mr. Devitt (as half), for a

three-quarter of Miss Devitt . 31 10 o

22. Of Mr. Hodgson (last payment) . 31 10 o

29. Mr. Littleton (last half), for Mrs.

Littleton , . . . 105 o o

June i. Of Sir J.Owen . . . . 26 5 o

5. Of Mrs. Berwick . . . . 82 o o
Of Lady Ranelegh, for cleaning

picture of Sir P. Stephens . . 5 13 o

6. Of Mrs. Lyon (as half-price) . . 31 10 o
Of H.R.H. the Duchess of Kent

(as first payment), for a Bishop's

BEECHEY ACCOUNT BOOKS 253

£ s. d.

half-length of herself and the
Princess Victoria .. . . no o o
Aug. i. Of Mr. Moray (as half), for portrait

of Mrs. Moray, Kitt Katt . . 47 5 o
Mrs. Ly on (as last half), three-quarter 31 10 o
3. Of Mrs. Bewick (by notes, due

Aug. 3°) • 47 5 °

22. Of Mr. Erskine (as half), himself,

three-quarter . . . . 31 10 o
Sept. 9. Of Mr. Moray (last payment), for

Mrs. Moray „ . . 47 5 o

Oct. 8. Of Mrs. Morgan, for a small

picture (as half) . . .. 15 15 o

1 6. Of Lady Read, for Miss Read's

picture (altering, &c.) . . 31 10 o
26. Of Mrs. Morgan (last half) . . 15 15 o
Nov. 3. Of Mrs. Gooch j(as part of head,
half-price, and frame — remains
due, £ 1 6 133. 6d.) . . . 21 10 o
9. Of Mr. Long, for Mrs. Long (by

bill for 90 days for j£6o) . . 63 o o
25. Of Mr. Poynder, for a three-
quarter portrait of Mrs. P. . 63 o o
30. Of Mr. Poynder (as half-price), for

himself „ . . -. . 31 10 o

^1670 10 6
1822.

£ s- d.

Jan. Of Mr. Poynder (as last half), for

himself and Mrs. P. . . . 31 10 o

254 SIR WILLIAM BEECHEY

£ s. d.

Jan. 1 6. Mr. Erskine (last half) . . . 31 10 o
Feb. 13. Of the Duchess of Dorset, for the
remainder of the Lady Delawarr
portrait . . . . . 93 10 o
20. Of H.R.H. the Duchess of Kent
(the remainder half), for H.R.H.
and the Princess Victoria . . no 5 o
15. Of Sir R. Arbuthnot (by bills) . 286 o o
28. Of the Marquis of Aylesbury,

three-quarter portrait . . 63 o o
Mar. 2 Of the Viscount Lowther, for
finishing the whole-length por-
trait of Mr. Hoppner of himself

(as half) 131 5 o

Apr. Of Mr. Tibbit (as half), for a
whole-length of his daughter
[? wife] and child . . . 162 15 o
May 15. Of Mr. Braham (last price), for

Mrs. B. and children (owes £$) . 105 o o
June 6. Of Major Cowel (in part), for Mrs.

Cowel's portrait, Kitt Katt . 20 o o
8. Of Mr. Tibbit (as last half), for

Mrs. Tibbit and child . . 162 15 o
July 4. Of Mr. Dowdeswell, for a portrait

of the Marquess of Anglesea . 63 o o
And frame . . . . 770

13. Of Sir J. Owen, for frames, pack-
ing-case, &c. . . . . 34 8 4
Of Mrs. Gooch (for the remainder),
for a three-quarter (half-price,
being small) . . . . 1656

H.K.H. THE DUCHESS OF YORK
From the original portrait

BEECHEY ACCOUNT BOOKS 255

£ s. d.

July 1 6. Of Mr. Every (in part), for his own

portrait . . . ... 50 o o

24. Of Mr. Wm. Banks, as a loan to
Henry [i.e., H. W. Beechey], in
order to enable him to prosecute
his discoveries in Africa . . 100 o o
Of Mr. Rignall (as half-price), for
a whole-length of Mrs. W.
Martin . . . ^ . 131 5 o
27. Of Mr. Blakes, three-quarter (old

price) . . . . 52 10 o

Aug. 6. Of Sir J. Beresford . . . 75 o o

Sept. i o. Of Mr. Nollekens, for a portrait of

Miss Chambers . . . . 50 o o

Oct. 7. Of Mr. Wyndham Martin, as last
half and two whole -length frames,
one for Mrs. W. Martin, and one

for a picture of . . . 201 o o

1 6. Of Mr. Worthington, for a portrait

of Mrs. W., with hands . . 73 10 o

Dec. 24. Of Major Cowel (owes £4 IDS.) . 70 o o

£1921 15 10
1823.

£ s. d.

Jan. 3. Of Mr. Ward, for himself and Mrs.

Ward . . ... 105 o o
Feb. 24. Of Mrs. Gosling (as half), for Mr.

Bennett Gosling . . . 31 10 o
22. Of Mr. Nollekens . . . 100 o o

256 SIR WILLIAM BEECHEY

Mar. 15. Of Mr. Worthington, for frames .
Of Mr. Duudas, for first payment of
his portrait . . . .
Apr. 10. Of Mr. Perceval, for two copies of
the late Spencer Perceval and
the frame . . . . .
28. Of Mr. Goodrich [?] ...
May 21. Of Mr. Dundas (last half) . .
23. Of the Marquis of Chandos (due
odd shillings and frame) . .
27. Of the Duke of Buckingham, for
the Duchess of B.'s picture and
packing-case . . . .
July. Of Mr. Claridge, three-quarter
himself . . . . .
Aug. ii. Of the Vice-Chancellor [? Leach] .
Of Mr. Marchbanks, for a portrait
of Miss Trotter (with a hand) and
frame . . . . . 74 n o
1 8. Of Charles Spencer . . . 49 9 o
Of Sir G. Jerningham . . . 48 1 5 o
Sept. Mr. Tibbit, frame, packing, &c. . 38 o o
Oct. ii. Of Mr. Merriman, for frame, pack-

ing-case, &c. . . . . 22 12 8
Of Mr. Ixjwndes (in part of pay-

ment), whole-length . . . 100 o o
Nov. 25. Of Mr. Lowndes (as last half), him-

self, and half-price for his father 215 o o

Dec. i. Of Goodrich . . . . 100 o o

Mr. Lowndes, a present to Sir Wm. 52 10 o

£1741 16 ii

£, s. d.

15 o o
66 2 6

132 10 6

100 o o

65 2 6

125 o o

87139

63 o o

210 o o

BEECHEY ACCOUNT BOOK 257

1824.

L 8- <*•

Feb. 6. Mrs. Rothschild [?] . . . 150 o o
Apr. 27. Of Mr. Goodrich .... 100 o o
2 1 . Of Mr. Riddle . . ... 2150
May 3. Of Wm. Wilkins, fora copy of Mrs.

Wilkins and child, for his sister . 52 10 o
6. Of Mr. Buncombe (as half), for

Mrs. Duncombe . . . 52 10 o

Of Mr. Turner, for a sketch of

Vandyke . . . . . 21 o o
June 1 2. Of Sir Richard Joddrell . \ 131 5 o
14. Of Mr. Duncombe (as last pay-

ment), for Mrs. Duncombe . 5210 o
Of Lady Forbes (as half) . . 31 10 o
24. Mrs. Desborough . . . . 31 10 o
Aug. 4, Of Mr. James [?] (as half), for

Mrs. Manning . . . . 2650
9. Of Mr. Lowndes, for a portrait of

his daughter . . . . 63 o o
Sept. i. Of Miss James [?] (last half), Mrs.

Manning . . . . . 26 5 o

1825.

L s-
May 8. Of Mrs. Peyton, for three-quarter . 63 o

10. Of Mr. Hemmins (as half), for

three-quarter himself . . . 31 10

12. Of Mr. Savill Only (as last half),
for his own portrait (the other
half having been paid at
Norwich), half-length . . 64 2

258 SIR WILLIAM BEECHEY

£ s. d.

May 1 6. Of Mr. fiendish (as first half),

himself, three-quarter . . 31 10 o

14. Of Sir Rd. Jodrell (as last half), for

Lady Jodrell . . . 131 5 o

24. Of Mr. Bendish (as last half) . 31 10 o

26. Of Mr. Every (£27 in rest of bill

due to Sir Wm.) . . . 17 o o
June 1 1. Of Rev. Mr. C. H. Preston (as

halt), for whole-length of his lady 131 5 o

1 8. Of Mr. Ward (as half) . . . 47 5 o

Of Mr. Vernon (part of 60 guineas) 30 o o

Sir J. Ashby (in part) . . . 70 o o

July. Of Mr. Rothes [or Rhodes] (as first

part), his own portrait . . 13150
12. Of P. P. Egerton (as half), for a
copy of the late Sir J. Egerton,
three-quarter . . . . 31 10 o
Of Mr. Lowndes (in full), for his
father's portrait and a copy of his
daughter . . . . . 16800

27. Of Mr. Ward (as last half) . . 63 o o
Of Mr. Buxton, for (half-price)

Miss Cholmondely, whole-length 131 5 o
Aug. 4. Mrs. Norton, half-length . . 65 12 6
Oct. 1 8. Of Gen. Wetherell (as first pay-
ment), for Miss W. . . . 33 o o
Nov. 14. Gen. Wetherell (last half), for Miss

Wetherell, three-quarter . . 30 o o

Dec. Of Sir P. Egerton (in full) . . 31 10 o

£1498 10 6

BEECHEY ACCOUNT BOOK 259

1826.

£ s. a

Jan. 19. Of Mr. Rhodes (for the last price),

two whole-lengths . . . 262 10 o
21. Of Mr. Buxton, for Mrs. Buxton . 135 5 o
Mar. 2. Of Sir John Ash by (last half). . 78 5 o
20. Mr. Burgess, for a copy of Mrs.
Sheridan [by Sir J. Reynolds],
intended for the late R. B.
Sheridan, Esq. . . . . 178 10 o
June 3. Of Capt. Kingston (as half) . 31 10 o

May 28. Of Mr. Lowndes (on account) . 21 10 o
June 5. Of Col. Edwards, for a Bishop's
half-length of Mr. Ashton Smith,
for the Corporation . . . 157100
27. Of Lady Buckinghamshire (as half),
for whole-length on a Bishop's
half-length ... 89 5 o

Aug. Of Mr. Kits, for three-quarter . 63 o o
Oct. 5. Of Lord Ailsbury (as half-price),

for Lady Ailsbury . . . 131 5 o
27. Of Mr. Lowndes (on account) . 63 o o
Nov. 10. Of Mr. Hains (as first payment),

three-quarter . . . . 31 10 o
Dec. ii. Of ditto (as last payment) . . 31 10 o

^1302 10 o

[The totals and the order (not always strictly con-
secutive) of the entries are according to Beechey's own
arrangement.]

APPENDIX

PICTURES EXHIBITED BY THE BEECHEY FAMILY

THE ensuing lists contain, it is believed, a full and com-
plete enumeration of all the poi-traits and other pictures
sent by Sir William Beechey, his wife and their children,
to the various public exhibitions in England. These lists
might be considerably extended, seeing that several of
Sir William's grandchildren and great-grandchildren con-
tinue up to the present day (and in other names) to
exhibit pictures. It has been considered advisable to
come down no farther than his children, who are here
included because many of their portraits and other works
have been confused with those of their father. The
period covered by these entries is just over a century, from
1776, when Beechey himself first exhibited at the Academy,
to 1877 when R. B. Beechey was represented at the
Academy by a picture of the North Polar Expedition.

SIR WILLIAM BEECHEY'S EXHIBITS AT
THE ROYAL ACADEMY

1776. AT MR. LEADER'S, CROSS STREET, CARXABY

MARKET.

20. A small portrait.
20.* Ditto.

* To be disposed of.

262 SIR WILLIAM BEECHEY

1777. THOMAS COURT, KING STREET, GOLDEN SUUAKE.
21. Two small portraits.

1778. No. i CHAPEL COURT, KING STREET, GOLDEN
SQUARE.

14. Two small portraits.

1779. SAME ADDRESS.

13. A gentleman, a small whole length.

14. A conversation.

1780. No. 25 CUMBERLAND STREET, MIDDLESEX
HOSPITAL.

28. Portrait of a gentleman.

48. A lady playing on a harp.

223. A family.

366. Portrait of a gentleman.

1781. DEAN STREET, Sono.
222. Portrait of a gentleman.
235. Portrait of an officer (Mr. Lloyd).

1782. No. 12 CASTLE STREET, OXFORD STRKKT.

205. A family.

247. A lady in the character of Venus, ride i JEn. of

Virgil.
427. Portrait of a gentleman.

[1783. For exhibits this year at Society of Artists see
p. 279.]

1785. NORWICH.
128. Witch of Endor.
1 68. Portrait of a clergyman, small whole length.

APPENDIX 263

170. Portrait of a gentleman, small whole length.

183. Portrait of a gentleman, kit-cat [? George Maltby].

242. Portrait of a clergyman.

244. Portrait of a lady.

385. Portrait of a lady, three quarters.

415. Portrait of an officer, small whole length.

427. Portrait of a lady, three-quarters.

1786. NORWICH.
1 6.* A gypsy fortune-teller.
i8.*The conjuror.

21. Portrait of Master Crotch, the celebrated musical
genius.

67. Portrait of an artist.

68. Portrait of a gentleman.

no. Portrait of a gentleman, small,
in. A conversation.

200. Portrait of a lady, half length [? Miss Ives].
239. An allegorical picture, painted for the Society of
United Friars in Norwich.

1787. No. 10 CHARLES STKEET, COVENT GARDEN, AND
AFTER MIDSUMMER AT HIS HOUSE, No. 20 LOWER
BROOK STREET, GROSVENOR SQUARE.

96. Portrait, a small whole length.

1788. No. 20 LOWER BROOK STREET, GROSVEXOR SQUARE.
54/Lavinia returned from gleaning, vide Thomson's

" Seasons."

158. Portrait of a lady.
185. Portrait of an officer on an outpost in America,

small whole length (Captain Boyce).

* To be disposed of.

264 SIR WILLIAM BEECHEY

188. Portrait of a lady, small whole length (Mrs. Ives of

Norwich).

215. Portrait of a gentleman (Jeremy Ives, Esq.).
24 1. "Iris, by command of Juno, requests Somnus, the

god of Sleep, to send a dream to Alcyone, vide

Dryden's " Fables."

416. Portrait of a gentleman (Mr. Robinson).
424.*Donna Mencia, recovering from a swoon, discovers

the horror of her situation, vide "Gil Bias,"

vol. i.
429. Portrait of an artist (Dominic Series).

No. 37 HILL STREET, BERKELEY SQUARE.

6. Portrait of a lady.

141. Portrait of a gentleman (Mr. Herbert).

177. Portrait of a lady.

204. Portrait of a Bishop (Douglas of Carlisle).

222. Portrait of an artist (Mr. Cooper).

241. Portrait of an artist (Mr. Sanby, R.A.).

356. Portrait of a naval officer.

1790. SAME ADDRESS.

50. Portrait of a young nobleman (Lord Haddo).

87. Portrait of a nobleman (Lord Macartney).
125. Portrait of a nobleman in the dress of the Scottish

Society of Archers (Lord Morton).
131. Portrait of a nobleman (Duke of Montagu).
212. Portrait of a nobleman (Lord Stopford).
281. Portrait of a young nobleman.
405. Portrait of a young nobleman (Ix>rd Dalkeith).
412. Portrait of a gentleman.
420. Portrait of an artist (Mr. Beechey).

* To be disposed of.

APPENDIX 265

1791. SAME ADDRESS.
52. Portrait of a lady of quality.

127. A nobleman's family, with a dog.

205. Portraits of a gentleman's family (Mr. Oddie's).

257. A gentleman's family, with a dog.

269. Portrait of a young nobleman (Lord Frederick

Montagu).

271. Portrait of a young gentleman.
372. Portrait of a gentleman (Robert Wilmot, Esq.)
423. Portrait of a young lady.
442. Portrait of a gentleman.

1792. SAME ADDRESS.

98. Portrait of a lady [in the index this is put to

Dupont, and is said to be Lord Barrington].
in. Portrait of an artist (Mr. Thomas Sandby).
142. Portrait of a young gentleman (Mr. Cooper's son).
1 66. Portrait of a lady (Lady Herbert).
317.- Portrait of a naval officer (Captain Montgomery).
407. Portrait of a gentleman (Mr. Greenwood).
427. Portrait of a gentleman (Mr. Campbell).
515. Portrait of a nobleman (Lord Herbert).
537. Portrait of a gentleman (Mr. Meux).

1793. SAME ADDRESS.
39. Portrait of a young gentleman.

82. Portraits of children relieving a beggar boy (Sir J.

Ford's children).

178. Portrait of an officer (Colonel Barry).
217. Portrait of a lady (Mrs. Burch).

266 SIR WILLIAM BEECHEY

1794. [ASSOCIATK AXD PORTRAIT PAINTER TO THK
QUEEX.] SAME ADDRESS.

9. Portrait of a lady of quality (Lady Arden).
22. Portrait of a clergyman in his academical dress (Dr.

Symons).

84. Portrait of a gentleman (Mr. Wallis or Wallace).
121. Portrait of a nobleman (Lord Tracy).
127. Portrait of Mrs. Siddons, with the emblems of

Tragedy).

228. Portrait of a bishop (Sutton, of Norwich).
234. Portrait of a clergyman (Dr. Strachey).
274. Portrait of a gentleman.
317. Portrait of a gentleman.

1795. 8 GEORGE STREET, HAXOVER SQUARE.

40. Portrait of a gentleman (Rev. Mr. Le Mesurier).

65. Portrait of a lady (Mrs. Meux, jun.)

70. Portrait of a lady (Miss De Vismes).

73. Portrait of a gentleman (Mr. Foley).

84.*Children going to bed.

85. Portrait of a lady (Miss Watson),
no. Portrait of an admiral (Sir Thos. Pasley).
186. Portrait of a lady of quality (Lady Caroline Camp-
bell).

213. Portrait of a general officer (Major-Gen. Clarke).

214. Portrait of a gentleman (Mr. Hodges).
268. Portrait of a gentleman.

1796. SAME ADDRESS.

93. Portrait of a young lady (Miss Koxby).
107. Portrait of a gentleman (Sir Philip Stephens).

* To be disposed of.

APPENDIX 267

158. Portrait of a lady (Miss Hadfield).

1 88. Portrait of a lady of quality (Lady Young).

210. Portrait of a lady (From E. India : Mrs. Johnson).

233. Portrait of a lady of quality (Lady Rous).

298. Portrait of an officer (Captain William Earle).

314. Portrait of an officer (Captain Earle).

348. Portrait of a gentleman (Mr. Makepeace).

356. Portrait of a comedian (Mr. Banister, jun.)

504. Portrait of a gentleman (Mr. Meux).

1797. GREAT GEORGE STREET, HANOVER SQUARE.
73. Her Royal Highness Princess Amelia.
80. H.R.H. Princess Augusta.

91. H.R.H. Prince of Wales.

92. Portrait of Her Majesty.

106. H.R.H. Princess Mary.

107. H.R.H. Princess Elizabeth.

150. Portrait of a nobleman (Lord Cardigan).

165. Portrait of a celebrated actress (Miss Leake, the

singer).
196. Portrait of Master Hatch, as marshall's attendant

at the Montem.

295. Portrait of a gentleman (Sir John Wodehouse).
469. Portrait of a gentleman (Mr. Littledale).

1798. [R.A. ELECT.] SAME ADDRESS.

169. Portrait of Lady Cawdor.

178. His Majesty reviewing the Third or Prince of
Wales's Regiment of Dragoon Guards, and the
Tenth or Prince of Wales's Regiment of Light
Dragoons, attended by H.R.H. Prince of Wales,
H.R.H. Duke of York, Sir \V. Fawcett, General
and Adjutant-General, and Knight of the Bath,

268 SIR WILLIAM BEECHEY

Lieut. -General Dundas, Quartermaster-General
and Major-General Goldsworthy, His Majesty's
first Equerry.

215. Portrait of Mr. J. Trotter.

221. Portraits of Mr. Wedderburn's children.

234. Portrait of Mrs. Ed. Long.

1799. [KxT. AND R.A.] SAME ADDRESS.

69. Portrait of Mrs. Gooch.

89. Portrait of the Marquis Cornwallis.

95. Portrait of Sir William Young.
100. Portrait of Miss Lushington as a Bacchante.
1 74. Portrait of Mr. Kemble.

209. Portrait of Mr. Boulton, of Soho, Staffordshire.
228. Portrait of Lady Carberry.
269. Portrait of Mr. Browne.
272. Portrait of Mr. Hope in a Turkish dress.

[The numbers as above differ in different editions of the
catalogue, but the portraits are the same.]

1800. SAME ADDRESS.
5. Portraits of Mrs. Hill and Child.

49. Lord Carnarvon.

68. Her R.H. the Duchess of York.

69. The King.
112. Captain Foley.
179. Lady Beechey.

283. Portrait of Mrs. Greenwood.
536. Portrait of Master Gosling.

1801. SAME ADDRESS.

79. Portrait of H.R.H. the Duke of York.

APPENDIX 269

95. Adoration Portrait of Lady Georgiana Bathurst.

125. Portrait of Lord Nelson.

144. Portrait of H.R.H. Prince Augustus.

168. Portrait of Lady Folkestone.

206. Rebecca : a portrait.

233. Portrait of a lady.

252. A little girl dressing herself (Miss Home).

1802. SAME ADDRESS.

13. Mrs. Montagu and her sister decorating the bust of
Handel.

61. Portrait of H.R.H. the Duke of Cumberland.

79. Portrait of Mrs. Skottowe.
lox. Portrait of Mr. Watt, of Soho, Staffordshire.
123. Portraits of Lady Temple and her son, Lord Cob-
ham.

170. Portrait of Sir William Hamilton.
192. Portrait of H.R.H. Princess Augusta.
274. Portrait of Mr. Watts.

1803. SAME ADDRESS.
ii. Portrait of Miss Halton.

55. Portrait of the Right Hon. Earl Romney.

65. Portrait of Sir W. Staines.
117. Portrait of Mrs. Symonds and family.
129. Portrait of Her R.H. the Princess Sophia of Glou-
cester.

1804. 13 HARLEY STREET, CAVENDISH SQUARE.

6. Hebe.
15. Psyche.

22. Portrait of a lady and her children.
65. Portrait of a lady.

27o SIR WILLIAM BEECHEY

74. Portrait of a gentleman.

in. Portrait of a child picking up shells by the sea-side.
416. Portrait of Mr. Heaviside.

1805. SAME ADDRKSS.
128. The Bishop of Chester [Majendie].
162. Mrs. Spicer.
171. Marquis of Salisbury.
178. Miss Mellon in The Honeymoon.
184. Earl St. Vincent.
216. Mr. J. Penn.
256. An Officer in the Volunteers.

1807. SAME ADDRESS.
8. Portrait of Mrs. Bates.

37. Portrait of Sir J. Earl.

48. Portrait of Earl St. Vincent.

93. Portrait of H.R.H. the Duke of Gloucester.

107. Portrait of the Countess of Breadalbane.

169. Portrait of the Earl of Buckinghamshire.

170. Children of Mr. Phipps.
182. Portrait of Mrs. Langley.

1808. SAME ADDRESS.

57. Portrait of Lord Mulgrave.

68. Portrait of a lady of quality (Countess of Ormond).

80. Portrait of a young lady.

1 1 8. H.R.H. the Duke of Cambridge ; for the Committee

of the Asylum.

127. Portrait of a lady.

270. Portrait of a gentleman.

APPENDIX 271

1809. SAME ADDRESS.

1 8. Portrait of a lady (Mrs. Leeds).

62. Portraits of Mrs. and Miss Wetherell [? Cockerell].

7 1 . Portrait of Lord Gambier.

82. Portrait of a nobleman (the young Marquis of
Sligo).

93. Portrait of Mr. Wilkie.

126. Portrait of a lady of quality (Marchioness of Sligo).
147. Portrait of Mr. Gambier.
387. Portrait of Alderman Ansley, late Lord Mayor.

1810. SAME ADDRESS.

2 1 . Portrait of a gentleman and his children [probably

Mr. Myers and children].
38. Portrait of a lady of quality.
42. Portrait of His Excellency the Persian Ambassador.

72. Portrait of a lady of quality.

113. Portrait of Mrs. Dickons as Margarita in the opera,

No Song No Supper.
147. Portrait of a lady of fashion.
170. Portrait of a nobleman.
183. Portrait of an eminent physician.

1811. SAME ADDRESS.

19. Portrait of a lady.

51. Portrait of a nobleman.

79. Portrait of a gentleman.

89. Portrait of a lady.

99. Portrait of His Excellency the Persian Ambassador,

in the dress in which he was first introduced to

His Majesty.
193. Portrait of the Countess of Albemarle.

272 SIR WILLIAM BEECHEY

199. Portrait of J. Egerton, Esq., M.P.
437. Portrait of Sir H. Halford.

1812. SAME ADDRESS.

29. Portrait of a Student of Emanuel College, Cam-

bridge.

78. Portrait of Sir R. Preston.
102. Portrait of J. Nollekens, Esq., R.A.
113. Portrait of H.R.H. the Duke of York.
157. Portrait of his Highness the Duke of Gloucester.
262. Portrait of W. Salte, Esq.
299. Portrait of Admiral Markham.

1813. SAME ADDRESS.
119. Portrait of a gentleman.

175. Portrait of a gentleman.

197. Portrait of a lady of quality.

198. Portrait or the Right Hon. Spencer Perceval.
221. Portrait of the late Sir F. Bourgeois, R.A.
226. Portrait of Sir A. Clarke.

296. Portrait of a Colonel of the East India Volunteers.
356. Portrait of Mr. Perceval.

1814. SAME ADDRESS.

[Portrait Painter to Her Majesty the Queen and to
H.R.H. the Duke of Gloucester.]

30. Portrait of a lady of quality as Hebe.

63. Portrait of H.R.H. the Duke of Cambridge.

94. Portrait of Mr. E. Gambier.
1 60. Portrait of P. Free, Esq.
183. Portrait of Sir B. Graham.

APPENDIX 273

1815. SAME ADDRESS.
97. Portrait of Sir P. Warburton.

159. Portrait of H.R.H. the Duke of Kent (whole

length).

164. Portrait of General Sir T. Picton, K.G.
228. Portrait of S. Kilderbee, Esq.
305. Portrait of Captain Watson.
311. Portrait of Lord Maynard.

1816. SAME ADDRESS.

i. Portrait of the Bishop of Chester (G. H. Law).
19. Portrait of Lord Hill.
37. Portrait of Lady Berwick.
83. Portrait of Hon. Mrs. Vernon.
88. Portrait of Lady Bernard.
112. Portrait of H.R.H. the Duke of Sussex.
129. Portrait of Lady Owen.

334. Portrait of the Hon. Captain Peachey, whilst Lieu-
tenant of the Cornrvallis, on March i, 1810,
having been all night in pursuit of a national
brig corvette, seen the day preceding, discovered
her at break of day in the distance.

1817. SAME ADDRESS.

i . Portrait of Master Brooks, a child of three years of

age, as St. John.
36. Portrait of a gentleman.
49. Portrait of the Marchioness of Hastings.
103. Portrait of the Marquis of Anglesea.
173. Portraits of Lady Arbuthnot and family.
200. Lord Exmouth, towards the close of the evening
ordering the sails of the Queen Charlotte to be

s

274 SIR WILLIAM BEECHEY

hauled in, in consequence of the burning of an
Algerian vessel immediately under her stern.

229. Portrait of Mr. Skelton.

324. Portrait of Colonel Grey.

1818. SAME ADDRESS.

[Portrait Painter to Her Majesty, and to their Royal High-
nesses the Duke and Duchess of Gloucester.]

33. Portrait of Mr. Coutts.

46. Portrait of the Right Hon. Lord Erskine.

62. Portrait of Her R.H. the Duchess of Gloucester.

86. Portrait of W. Leake, Esq.

137. Portrait of Admiral Sir G. Campbell.

153. Portrait of Mrs. Coutts.

214. Portrait of Mrs. Riley.

315. Portrait of Mrs. VV. Noel.

1819. SAME ADDRESS.
57. Portrait of Hugh Leicester, Esq.

77. Portrait of H. R.H. the Duke of Gloucester.

87. Portrait of H.R.H. the Duchess of Cambridge.
97. Portrait of H.R.H. the Princess Augusta.

205. Portrait of Lady Stanley.

266. Portrait of the Vice-Chancellor (Sir John Leach).

299. Portrait of James Ferguson, Esq.

333. Portrait of a lady.

1820. SAME ADDRESS.
23. Portrait of Lady de la Warr.

82. Portrait of H.R.H. the Duke of Kent.
100. Portrait of Cecil Forester, Esq.
177. Portrait of a lady.

APPENDIX 275

198. Portrait of Lady Katherine Forester.
346. Portrait of Lady Harrietta Clive.

1821. SAME ADDRESS.

34. Portrait of a lady [Miss Fuller] in the character of
Una.

86. Portrait of a gentleman.

90. The Birds' Nest.

186. Portrait of the Earl of Aylesbury (i.e., Ailesbury).
334. Portrait of Hugh Leicester, Esq.

1822. SAME ADDRESS.
27. Portrait of the Rev. Dr. Foster Pigot.

66. Portraits of H.R.H. the Duchess of Kent and the

Princess Alexandrina Victoria.
95. Portrait of Sir Alexander Cochrane.
238. Portrait of Sir John Beresford.

288. Venus and Cupid — Cupid having lost his arrows,
&c., at dice with Ganymede, is reproved by
Venus (see Prior's Poems).

1823. SAME ADDRESS.
29. Portrait of Mr. Symmons.

68. Portraits of a lady and child.

157. Portrait of a lady.

193. Portrait of a young lady.

201. Portrait of a lady.

326. Portrait of a lady.

439. Portrait of Mr. Ward.

1824. SAME ADDRESS.

64. Portrait of Sir George Cockburn, K.G.C.B.
75. Portrait of a lady of fashion.

276 SIR WILLIAM BEECHEY

88. Portrait of a lady.

124. Portrait of T. Lowndes, Esq.

302. Portrait of a gentleman.

401. Portrait of a gentleman.

1825. SAME ADDRESS.
7. Portrait of Elisha Dehague, Esq.

92. Portraits of the lady and daughter of Sir R. P.
Jodrell, Bart.

97. Portrait of H.R.H. the Duke of Gloucester,
in. Portrait of a lady.
194. Portrait of P. M. Martineau, Esq.
283. Portrait of Charles Saville Only, Esq.

1826. SAME ADDRESS.

55. Portrait of a lady.

85. Portrait of the Rev. Dr. Davy, D.D., F.A.S., F.R.S.
104. Portrait of Sir George Nayler, Kt, K.G.H., K.T.S.,

F.S.A.

131. Portrait of Sir J. Dugdale Astley, Bart., M.P
256. Portrait of a lady.

1827. SAME ADDRESS.

86. Lillian.

" Up the maiden gazed,

Smiling a pale and terrified delight,

And seem'd for that lov'd warbler in her breast

Beseeching mercy."

— " Lord of the Bright City," p. 73.

152. Portrait of Captain Schomberg, R.N.
187. Portrait of Major H. D. Campbell.
439. Portrait of a gentleman.

APPENDIX 277

1828. SAME ADDRESS.

ii. The Little Gleaner [Miss A. D. Beechey].

5 1 . Portrait of an officer.

60. Portrait of Lord Grantley.

87. Portrait of a lady of quality.

146. Portrait of the Bishop of Bath and Wells (Law).
190. Portrait as Flora.

405. Portrait of Dr. Lamb, Master of Corpus Christ
College, Cambridge.

1829. SAME ADDRESS.
15. Portrait of Captain Usher.

43. The lady in St. Swithian's Chair, from the first
volume of " Waverley " :

" Is it the moody owl that shrieks,
Or is it that sound betwixt laughter and scream,
The voice of the demon who haunts the stream ? "
208. Portrait of Charles Dumergue, jun., Esq.
301. Portrait of E. H. Baily, Esq., R.A.
444. Portrait of the Rev. Charles Este.

1830. SAME ADDRESS.
25. Portrait of a gentleman.

40. Psyche:

" Elle remonte enfin les enfers beaucoup plus
gaie qu'elle n'y etoit allde." — French translation
of " Apuleius."

47. Portrait of His Grace the Duke of Somerset.
156. Portrait of the Bishop of Ely (Bower E. Sparke).
193. Portrait of Joshua King, Esq., Fellow of Queen's
College, Cambridge ; presented by the under-

278 SIR WILLIAM BEECHEY

graduates of that college, to be placed in their

hall.

222. Portrait of the late Chichele Plowden, Esq.
302. Portrait of a gentleman.

1831. SAME ADDRESS.

65. Portrait of His Majesty, painted for the Trinity

House as Master of that Corporation.

66. Portrait of Her Majesty, painted for the Corpora-

tion of the Trinity House.
127. Portrait of William F. Norton, Esq.
177. Portrait of the late Lord Mayor (Crowder).
264. Portrait of a lady.

1832. SAME ADDRESS.
87. Portrait of Viscountess Hood.

197. His Majesty.

216. Portrait of Viscount Hood.

254. Portrait of S. [? T.] B. Mash, Esq.

476. Portrait of Dr. Ashburne.

1833. SAME ADDRESS.
71. Portrait of His Majesty.

213. Portrait of the Bishop of Chichester (Maltby).

1834. SAME ADDRESS.
20. Portrait of Miss Home.

87. Portrait of Miss Wilkins.

162. Portrait of Mrs. Harkness.

204. Portrait of a lady.

308. Portrait of Archdeacon Wilkins.

APPENDIX 279

1835. SAME ADDRESS.
67. Portrait of Mrs. Herbert N. Evans.

1 60. Portrait of Sir Charles Scudmore.

208. Portrait of Miss Emma Robarts.

323. Girl's Head.

370. Portrait of Mrs. Irmes.

392. Portrait of Mrs. Charles Storer.

1836. SAME ADDRESS.
43. Miss Beresford.

78. Miss Wood.

219. Dr. Southey, M.D.

364. Mr. Sandby.

382. Sir William Beechey.

1837. 2 HENRIETTA STREET, CAVENDISH SQUARK.
41. Portrait of the late Mr. Parke.
131. Portrait of a lady.
361. Portrait of a lady.
461. Portrait of Mrs. Sharpe.

1838. SAME ADDRESS.
26. Portrait of the late Bishop of Madras (Corrie).

1839. [THE LATE SIR WILLIAM BEECHEY.]
219. Portrait of Miss Owen as Psyche.

EXHIBITS AT THE SOCIETY OF ARTISTS

1785. Mr. BEACHEY («c), NORWICH.

31. Portrait of a lady, whole length.

32. Portrait of a gentleman, three quarters.

33. Portrait of a family, small whole lengths.

280 SIR WILLIAM BEECHEY

EXHIBITS AT THE BRITISH INSTITUTION.

1806.
50. Psyche.

59. Venus and Cupid.
14. A view near Margate.

1807.

64. Bravery and Humanity.

In the first expedition of the British troops
to Flanders in the late war the French had
pillaged a cottage and left its miserable in-
habitants without bread, telling them " they
ought to think themselves very well off, for the
English were coming, and would not only rob
but murder them." A party of the Guards
arrived soon after, and, on learning the treat-
ment they had received, pulled off their haver-
sacks and supplied them with what provisions
they could spare. 38 x 33.
109. Old man's head (a study). 43 x 38.

1808.

65. Rustic ruminating. 15 x 12.

169. View near Southend, Essex. 25 x 32.

194. View of Leigh, from the hamlet of Prittlewell

Southend, Essex. 26 x 32.
202. View at Southend, Essex. 26 x 32.
329. A monk at his devotions. 41 x 36.

1810.

43. Hebe feeding the eagle of Jupiter. 72 x 60.
54. Venus and Cupid (a study). 28 x 23

APPENDIX 281

181x1

75. Venus and Cupid (a study). 28 x 23.

1813.

91. Cottagers returning thanks to Heaven for their pre-
servation from a recent storm. 44 x 36.

1814.
117. Gipsies regaling themselves. 55 x 64.

1816.
4. Hebe feeding the eagle of Jupiter. 133 x 78.

1818.

29. Meg Merrilies. 33 x 30.
117. The Evening Star. 38 x 45.

" Star of descending night ! fair is thy light in the

west.
The waves come with joy around thee, and bathe

thy lovely hair."— OSSIAN.
121. St. John in the Wilderness.

289. A view of the sandbank chalybeate spring lately
discovered in the Isle of Wight. 39 x 60.

1821.
16. Hebe. 125 x 95.

1824.

50. Venus chiding Cupid for having lost his bow and
arrows with Ganymede at hazard. (From Prior's
" Cupid and Ganymede," p. 75.) 42 x 36.
125. A landscape, with gipsies. 42 x 36.
228. Psyche, from the "Golden Ass" of Apuleius.
39 * 34-

282 SIR WILLIAM BEECHEY

1827.

2. Psyche, vide Apuleius. 74 x 60.

1829.

51. Cottage children going to bed. 40 x 34.

1830.

52. The Lady in St. Swithian's chair. 114 x 76.

" The Lady she sate in St. Swithin's chair,
The dew of the night has damp'd her hair :
Her cheek was pale : but resolved and high
Was the word of her lip and the glance of her
eye." — " Waverley," i. p. 125.

44. A sketch from Nature. 34 x 27.

1835. Catalogue not in British Museum.

1836.

257. A landscape. 24 x 28.

258. The unexpected Return of the Fisherman, who was

supposed to have been lost upwards of a fort-
night (a scene from Nature, sketched on the
spot). 24 x 28.

259. A view in the Highlands of Scotland. 24 x 28.

SOCIETY OF BRITISH ARTISTS, SUFFOLK STREET.

1830.

46. Landscape.

92. The late Mr. Park.

101. Sir F. Bourgeois, founder of the Woolwich Gallery.
107. Gipsies removing their tents.
209. Black Gang Chine, in the Isle of Wight.

33 Hebe.

APPENDIX 283

1831.

MISS JESSUFS (AFTERWARDS LADY

BEECHEY) EXHIBITS AT THE

ROYAL ACADEMY.

Miss A. P. JESSUP, NORWICH.

1787.
462. Drawing.

584. Ditto.
596. Ditto.
658. Ditto.
662. Ditto.

MRS. BEECHEY, 8 GEORGE STREET, HANOVER SQUARE.
MINIATURES

505. Portrait of a lady (Miss Briggs).

539. A frame with five portraits (Miss Leake [or Locke],

Mr. Hicks, Master Beechey, Miss Moriss, Mr.

Ballantyne).
542. Portrait of a gentleman (Mr. Lesley).

1798.

871. Portraits of Miss Leake, Miss R. Bannister, three
Miss Beecheys.

LADY BEECHEY, 6 GREAT GEORGE STREET,
HANOVER SQUARE.

1799.

783. Portraits of Miss Leake, Mrs. Wheatly, Mr. and
Miss Boulton, and Lady Beechey.

284 SIR WILLIAM BEECHEY

1804.

729. Portrait of Miss A. D. Beechey.

1805.
356. Miss Beechey.

EXHIBITS OF RICHARD BRYDGES
BEECHEY.

ROYAL ACADEMY.

1832.
52 DURNFORD STREET, STONEHOUSE, PLYMOUTH.

335. H.M.S. Madagascar, off Gibraltar.

1833-
321. Experimental Squadron under Codrington, 1831.

1834.
243. H.M.S. Phaeton beating into Gibraltar.

1858.
1010. Picking up a Lame Duck (a timber ship).

1859.
555. Dutch galliot in a fresh breeze in the North Sea.

1860.

595. The day after Trafalgar [quotation from James's
" Naval History "].

1861.

32. The east coast of Greenland and steam yacht
Fox while employed surveying the route for
the North Atlantic telegraph, under the com-
mand of Allen Young, Esq., F.R.G.S., 1860.

APPENDIX 285

1863.

550. The Bay of Biscay [quotation, "The dismal wreck to
view."]

1864.

416. The Eddystone Lighthouse, with H.M.S. Prince
Consort, ironclad, a sailing frigate, Trinity Board
cutter, trawlers, &c., in the distance.

1865.
419. " Over the Bar " (ships in a gale).

1866.

ROYAL WESTERN YACHT CLUB, PLYMOUTH.
34. Destruction of H.M.S. Bounty, by fire, off Monte
Video, Feb. 1865. From sketches and personal
information obtained from Captain Campbell and
other officers who were present.

1867.
650. A Lee shore.

1868.
2 BELGRAVE SQUARE NORTH, MONKSTOWN, Co. DUBLIN.

676. A water-logged and abandoned timber vessel being
brought into Black Sod Bay, West of Ireland, by
the coastguard, the natives in their " curraghs "
(canvas-covered boats) profiting by the occasion ;
the cliff, upwards of 2000 ft., represented in the
distance, forms part of the west coast of Achille
Island.

1869.

392. " The sea is His, and He made it."

286 SIR WILLIAM BEECHEY

1871.
2 CORRU; CASTLE TERRACE, KINGSTOWN, Co. DUBLIN.

98. " The only flag that freedom rears,

Her emblem o'er the seas,
Is the flag that braved a thousand years,
The battle and the breeze."

1872.

1039. South Stack Lighthouse, Holyhead ; gale moderat-
ing.

1874.

no PEMBROKE ROAD, DUBLIN.
1416. Death of Palemon (from Falconer's "Shipwreck").

828. The Rescue.

1877.
LYNWOOD, ELLENBOROUGH PARK, WESTON-SUPER-MARE.

1339. North Polar Expedition, commanded by Captain
Sir Geo. Nares. The most northern encamp-
ment of the sledge party under Captain Mark-
ham and Commander Parr, detached from H.M.
ships Alert and Discovery, May 12, 1876. Lat.
83' 20" N.

BRITISH INSTITUTION.
1833 (Lieut. R.N.)

285. English squadron in the Downs, 12 x 15.

295. Sketch near Hastings, 12 x 15.

439. H.M.S. Madagascar off Gibraltar, 36 x 40.

APPENDIX 287

1834.

313. Fishing- boats running into harbour, 21 x 24.

317. The dangerous situation of H.M. ship Fisgard, Cap-
tain T. Byam Martin, endeavouring to weather
the rocks off Ushant, having been embayed be-
tween that and Abreuvac, and carrying perhaps
the greatest press of canvas ever known under
similar circumstances. 2 1 x 24.

439. The French brig La Mutine driven on shore and
destroyed by H.M. brig Racoon, Captain Bissel,
off San Jago in the Island of Cuba. 39 x 48.

1858.

98. Shorten Sail ! Price £2 1 .
215. Hooker, off Cork Harbour. £31 los.

1859-

280. " They that go down to the sea in ships, and occupy
their business on great waters. These men see
the works of the Lord, and His wonders in the
deep." — Psalm cvii. 23, 24. £25.

SOCIETY OF BRITISH ARTISTS, SUFFOLK STREET.

1834.

113. Sea piece.

180. Sea piece, breeze freshening.
369. H.M. ship Madagascar running into Malta Harbour.

1835-

25. Sea piece, Gibraltar Bay.

257. View near the Landing Place, Malta; blowing a
gale.

288 SIR WILLIAM BEECHEY

EXHIBITS OF GEORGE ED. BEECHEY AT
THE ROYAL ACADEMY.

1817. SIR WILLIAM BEECHEY'S.
280. Portrait of Miss Jones.

1818.

301. Portrait of Mrs. Turton.

1819.
340. Portrait of a field officer of the Life Guards.

1820.

207. Portrait of H.R.H. the Duke of Gloucester.
262. Portrait of a lady.
405. Portrait of Lord Pevensey.
412. Portrait of the Earl of Guildford.

1821.

291. Portrait of J. Tulloch Osborn, Esq.
323. Portrait of the Countess of Waldegrave.
434. Portrait of the Earl of Sheffield.

1822.

267. Portrait of a lady.
378. Portrait of a lady.

1823.
238. Portrait of a nobleman.

302. Portrait of a lady.

1825.

244. Portrait of Lady Lacon.
254. Portrait of J. Ives, Esq. (? J. Jones).
396. Portrait of E. Toropson, Esq.

APPENDIX 289

1826.

338 Portrait of a lady.

1827.

22i. Portrait of Lady Duberley.
281. Portrait of T. Pinkerton, Esq.
325. Portrait of W. Alcock, Esq.

1828.

478. Portrait of Sir William Beechey, R.A.
607. Portrait of Captain Beechey, R.N.

1832 [CALCUTTA].
393. Portrait of a Hindoo lady [? Hinda].

BRITISH INSTITUTION.

1834.
214. Hinda. 42 x 36.

S. R. BEECHEY, 26 TAVISTOCK SQUARE, LONDON.

1859. ROYAL ACADEMY.
395. Portrait of the artist.

HENRY W. BEECHEY, 2 HENRIETTA STREET, CAVENDISH

SQUARE.

1838. ROYAL ACADEMY.
448. Portrait of Mrs. Worthington.

B.I. 1829. [18 HAIILEY STREET].

276. A view of part of Cyrene, consisting of the ancient
monuments, and a distant view of the sea.
75X in.

[No apology is necessary for an exhaustive Index ; but
the exact scope of that which occupies the following
pages may be briefly indicated. It comprises every proper
name and every subject which may reasonably claim to
render this book of use as a work of reference. The names
(so far as they have been ascertained) of every person
who sat to Beechey is entered in the Index, and their
engravers, along with the names of his friends and con-
temporaries. Owners, past and present, are as a rule also
indexed, except in the cases of many family portraits
whose owners have the same surnames as those who sat to
Beechey. With reference to the Account Books now
transcribed and published for the first time on pp. 221-
260, the names of those who paid for portraits are
indexed, except in such cases where the husband paid for
his wife's portrait, or the mother or father for those of
their children. It was the custom to pay one instalment
for a portrait at the first sitting, and the remainder either
during the progress of the picture or when it was finished.
This accounts for two and even sometimes three payments
appearing on one page. Where such payments exceed
one on a page, the number of entries is indicated by figures
in parentheses. The names of fancy subjects and the
titles of periodicals are printed in italics. The various
entries in the Appendix are not indexed, as all the por-
traits by Sir William Beechey, of which the names have
been identified, are mentioned in the body of the book.]al-

INDEX

ABERCORN , Marchioness of, 248

Abergavenny, Lord, 221

Abernetby, Miss, 198

Adair, Mr., 223

Adair, Mrs., 223

Adams, Capt, 222

Addie. See Oddie

Addington, S., 219

Adelaide, Queen, 172

Adoration, 76, 158

Agar, Capt. , 226 (3)

Agnew, Messrs., 31

Agnew, Mrs., 241

Agnew, Sir H. [.i.e. , Sir A.], 238

Ailesbury, Countess of, 259

Ailesbury, Earl of, 155, 223, 251, 254

Ainsley, Mr., 248

Albemarle, Countess of, 118, 231, 234

Alexander, Mr. W. C., 200

Allston, W., 15

Altamont. Earl of, 114, 227 (2)

Amelia, Princess, 52, 53, 54, 218

Anderton, Mr., 252

Andrews, Mr., 246

Angelo, Hy., 9

Anglesey, Marquis of, 139, 155, 245,

250 (2), 254
Ansley, John, 114, 228
Arbuthnot, CoU 238
Arbuthnot, Lady and children, 140,

242

Arbuthnot, Sir R., 243, 254
Arden, Lady, 44, 125, 237
Arkwright [?], Mr. and Mrs., 244
Ashburne, Dr., 174
Ashby, Sir J., 258, 259
Astell, W., 115, 232, 235
Ashley, Sir J. D., 166
Aubrey, Mrs., 233, 234
Augusta, Princess, 53, 77, 148, 149,

249

BAILY, E. H., 169

Bainbridge, Capt., 198

Raines, Mr. J. A., 34

Baker, Mr., 233 (2)

Ball, Mr., 236

Ballpck, Miss, 132, 239

Banister, J., 6, 49

Banks, W., 265

Barclay. Sir R., 248 (2)

Bard well, T., 18

Barry, Col., 41

Barry, James, 22

Bartolozzi, F., 43, 76, 113

Baseley, C., 249

Bates, Mrs., 107

Bathurst, Lady G., 76

Battle of Constantine, 240

Batt, Mr., 229

Baugh, Isaac, 230

Beaulieu, Lord, 222

Beau Monde, Le, 86

Beaumont, Sir G., 109

Bedford, Duke of, 198

Beechey family, 179 et seq.

Beechey, Alfred, 195

Beechey, Anna Dodsworth (Mrs.

Jackson), 167, 184, 193, 194
Beechey, Anne Phyllis (Mrs. H.

Spencer), 189, 192
Beechey, Canon St. Vincent (father

and son), 106, 175, 180, 195,

196
Beechey, Caroline (Mrs. Innes), 184,

189, 191

Beechey, Charles, 184, 189, 191
Beechey, Charlotte E. (Lady Grantley),

83, 84, 194
Beechey, Emma (Mrs. C. Spencer),

184, 189, 190
Beechey (Mr.) Ernest, 55, 60. 92, 144,

157. 159

INDEX

293

Beechey, Frederick W., 180, 182, 184,
191, 192

Beechey, George D., 155, 187, 193,
250, 251, and APPENDIX, 288-9

Beechey, Harriet (Mrs. Riley), vi., 146,
192

Beechey, Henry W., 19,184, 189, 190,
255, and APPENDIX, 289

Beechey, Jane, 196

Beechey, Lady (Anne Phyllis Jessup),
vii., 7, 8, 27, 71-2, 184-8, 189, 190 ;
miniatures painted by, 184-6 ; ex-
hibits at Royal Academy, 27, and
APPENDIX, 283-4

Beechey, Miss (of Hilgay), 189

Beechey, Richard B., 196, and AP-
PENDIX, 284-8

Beechey, S. R., APPENDIX, 289

Beechey, Sir William, birthplace and
relations, 3 ; death, 178 ; exhibits
at the Royal Academy and else-
where, 10-178 ; and APPBNDIX ;
first picture, 9 ; knighted, 61 ; mar-
riages, 7-8, 184 ; portraits of him-
self, viii., 37, 177, 188-9; portrait-
painter to the Queen, 42 ; prices,
141 ; residences in London, 17, 26 ;
Royal Academician, 43, 62 ; small
whole lengths, 10-11 ; sales at
Christie's and Rainy's, 31, 42, 45,
65, 70, 129, 131, 135, 138, 158, 167,
171, 172, 173, 177,178; and APPEN-
DIX, 261-283

Beechey, William, sen., 3 ».'

Beechey, William Nelson, 195

Beggars at a Cottage, 79

Bell, E., 75

Belle AssembUe, La, 54, 71, 80

Bendish, Mr., 258 (2)

Bennet, Mrs., 223

Beresford, Lord, 239, 243

Beresford portraits, 158-9, 176-7,
238 (2). 243, 244, 255

Beresford, Sir J., 158

Bernard, Lady, 133 «., 134, 241 (2)

Bernard, T., 61, 232, 234, 238

Berwick, Lady, 134, 241, (2)
Berwick, Mrs., 252, (2), 253
Bestland, C., 208
Binnoch, Mrs., 234
Blaaw, Mr., 234
Blackburne, J., 198
Blades, John, 198, 240, 241

Blakes, Mr., 255

Blakeslee, Mr. T. J., 74, 212

Blamire, Geo., 219

Blayney, A., 199

Blind Fiddler, 189-190

Blomefield, Mr. W., 249 (2)

Blucher, Prince, 243

Bocquet, E., 103

Bone, H., 54, 69, 82, 83, 107, 154, 156,

189

Borrett, Mrs., 199
Bosanquet, Mrs. See Ives, Miss
Bosanquet, W., 29
Bosworth, Lady, 134/1., 24.1
Boulton, M., 67-8, 78, 226, 231
Bourgeois, Sir F., 81 «., 125-^6
Bourlier, M. A., 43, 71, 74, 217
Bowes, Miss, 203
Boyce, Capt and Master, 31 and ».,

222

Boydell, Aid., 75, 105
Braham family, 245, 254
Bravery and Humanity, no
Breadalbane, Lord and Lady, 108,

225
British Institution, 89-90, no, 134,

148, 160, 169, 174, 232
British Museum , 61
Broderip, Francis, 219
Bromley, J., 126
Bromley, W., 81

Brooks, Master, 139, 239 (2), 240
Browne, Mr. (or Brown), 69, 226, 229,
230 (2), 235, 241, 242

Buccleuch, Duke of, 79-80

Buckingham, Duchess of, 256

Buckingham, Duke of, 79-80

Buckingham Palace, 53, 77

Buckinghamshire, Lauy, 259

Buckinghamshire, Lord, 227

Bulkeley, Lord and Lady, 199, 224,
230

Bulwer, Genl., 75

Butch, Mrs., 41

Burdett-Coutts, Baroness, vii., 172,201

Burford, 3, 5

Burgess, Mr., 8, 259

Burnaby, Dr., 232

Burrell, Lady, 8 in., 63

Burton, Lord, 48, 212

Buxton, Mr., 258, 259

'•CABINET OF MODERN ART," 5, n,

294

SIR WILLIAM BEECHEY

16. 26, 32, 42, 46, 58, 71, 76, 81 «.,

85, 104. 169, 214
Cadell, Thomas, 199, 206
Cadell's " British Gallery," 43, 68,70,

75. 103, 105, 113. 126, 139, 188,209,

213, 217

Caithrow, Mrs., 249 (2)
Caius and Gonville College, 73
Calburne, Mrs. , 226, 230
Cambridge, Duchess of, 148, 247
Cambridge, Dukes of, 74, 77, 80, 107,

1 08, 128, 142, 150, 228, 234(2), 237,

247(2)

Campbell, H. D., 167
Campbell, Lady C, 48, 68
Campbell, Miss, 248
Campbell, Sir Geo. , 144-6, 245, 246
Carbery, Lady, 69
Cardigan, Lord, 54, 223
Cardcn, A., 68, 70
Carew.S. H.,251
Carey < Mrs. ), as Hebe, 234
Carnarvon, Earl of, 32, 71, 211
Carnarvon, Grand Jury Room, 216
Carpenter, Lady A., 223
Carr, John, 199
Cawdor, Lady, 238
Cawdor, Lord, 64, 229
Chamber's " History of .Norfolk," 7,

18

Chambers, Lady, 251, 252
Chambers, Miss, 255
Chancellor, Mr. S.,"i9, 185
Chandos, Marquis of, 256
Charlotte, Queen, 42-3, 52-3, 62-3,69,

186-7, 236

Chelsea Military College, 73
Chester, Bishops of. See Law and

Majendie

Chester, Mr. A., 202
Chesterfield, Earl of, 200
Cholmondeley, Miss, 258
Cholmondeley, Mr., 235, 236 (a)
Christie, Messrs., 8, 19 «., 24, 31, 84,

Il6, 119, 209, 210, 211, 212, 217

Cipriani, G., 21, 22
Claridge, Mr., 256
Clarke, Major-Gen. A., 48, 126,236,

237 (2)

Claxton, Mr., 224, 226
Clayton, Master, 223
Clements, Mrs , 222
Cleveley, R., aoo

Clifford, Lady de, 231

Clint, G., 113

Clive, Lady H., 153

Cluer, Mrs., 251

Cobham, Lord, 79

Cochran, Mr. and Mrs., 231, 232 (3)

Cochrane, J., 82

Cochrane, Sir Alex., 157

Cockburn, Sir Geo., 162

Cockerell, Mrs. and Miss, vii., 112-

"3

Cockerell, S. P., viii.,2oo
Codrington, Sir W., 200, 222
Coffin, Admiral, 227, 235. 228
Collins, Mr., 242, 243, 244, 247
Colnaghi, Messrs., 45, 82, 100, 207
Commeline, Mrs., 170, 192
Constable, )., 13
Cook, G., 106
Cook, H., 131
Cook, John, 24
Cooper, Mrs., 21, 34, 221
Cooper, R., 75, 188
Cooper, Ramsay, 34, 39
Cooper, Richard, 20, 33-34
Cornwallis, Marquis, 67
Coppell, Mrs., 200
Corbett, Mr. J., 107
Corrie, Daniel, 178
Cosen [?], Lady, 250
Cottagers, 119
Court own. Earl of, 221
Cousins, S., 150
Coutts, Mr. and Mrs., 86, 88, 142-3.

144, 244 (2), 245 (2), 246 (2), 250
Coventry, The Misses, 226, 227
Coventry, J., 232, 233
Cowel, Mrs., 254, 255
Cowper-Johnson, Canon, 207
Cox, Mrs. , 223
Coxe, Rev. W., 201
Crawford, Mr., 250
Crawford, Rev. T., 33
Crocket, Master, 221
Crocket, Mrs., 224
Crome, John, 23
Crotch, Master, 24
Crowder, John, 173
Crowe, Miss, 217
Crump, Mrs,, 224
Cumberland, Duke and Duchess of,

10, 77, 224, 225
Curzon, 1 14, 246

INDEX

295

DALKEITH, Lord, 37, 222, 223 (copies)

Darby, H. d'Esterre, 201

Darby, John, 201

Dashwood, Sir H., 222, 347

Davis, Mr., 240

Davy, Dr. M., 165, 234

Dawe's " Life of Morland," 41-2

Dawnay, Hon. P., 49

Dee, Miss, 225

Dehague, Elisba, 163

Delane, J. T., 46

Delatre v. Copley, 76

Delawarr, Lady, 152, 248, 254

Desborough, Mrs. , 257

Desenfans, N., 66-7, 126, 224

De Vismes, Miss, 47

Devitt, Mrs. and Miss, 252 (2)

Devonshire, Duchess of, 25

Dibdin, Charles, 201

Dickons, Mrs., 116, 124, 133, 232

Director, The, no

Dixon. Kenneth, 201

Dodsworth, Dr., 227 (2)

Donkin, Genl., 61

Donna Mencia, 31

Dorset, Duchess of, 248, 254

Douglas, Bishop, 33, 221

Douglas, Sir W. H., 201

Dowdeswell, Messrs., 153

Dowdeswell, Mr., 254

Downman, J., copy after, 243 (2)

Drake, F., 201

Drapers' Company, 225

Dublin, Corporation ot, 224

Dublin Society, 233

Ducie, Earl of, 33

Duckworth, Sir J. T. B., 202, 232

Dufferin, Lady, 229 (2), 230 (2), 233

Dulwich Gallery, 66, 83 *, 125

Dumergue, C., 169

Duncannon, Lady, 25

Buncombe, Mrs., 275 (-2)

Dundas, C., 202, 256 (2)

Dundas, Lt. -Gen., 57, 58

Dunkarton, R., 89, 108,201, an

Dunn, Mr. , 236

Dyke, Mr., 229

EAKULEY, Mr., 230, 246, 247, 249
Earle portraits, 49
Earle, Sir J., 107
Earlom, R., 75
Edinburgh Exhibition, 75

Edwards, Col., 216, 259

Edwards, W. C., 132

Egerton, J., 118, 232, 233, 258 (2)

Egerton, Sir P., 258

Egremont, Earl of, 101, 202

Elizabeth Augusta, Princess, 52, 53

Elizabeth, Princess, 52, 226

Erskine, Lady L. , 231 (2)

Erskine, Lord, 143-4, 245

Erskine, Mr., 253, 254

Este, Rev. C., 170

European Magazine, 78, 140, 209

Evans's " Catalogue of Prints," 132.

200, 211

Evans, Mrs. H. N., 176
Eveleigh, Rev. W., 202
Evelina, 219
Evening Star, 147
Every, Mr. , 255, 258
Exmouth, Lord, 138

FARINGTON, Joseph, 94

Fawcett, Sir W., 57

Feardall [?], Mr., 251

Fenner, 203

Fenton, R., 10

Ferguson, James, 151, 2.j6

Ferrard, Viscountess, 229, 230, 233

Finch family picture, 232

Finden E., 47

Fishmongers Company, 105, 106,

129

Fitzherbert, Lady, 249, 250
Flora, 81 n. 168
Fogg, engraver, 77
Foley portraits, 46, 48, 72
Folkestone, Viscountess, 76
Forbes, Lord and Lady, 224, 257
Ford Children, 40-41
Forester, C., and Lady K., 153,246 (2)

249

Forin, Mr., 231 (2)
Forsyth, Thos., 203
Fortune Teller, The, 20, 24
Foster, Mr., 224
Foster, Rt. Hon. J., 229, 233 (2)
Fowler, Capt., 251
Fraser, Sir J. F., 203
Free. P., 127, 237
Freeling, Sir F., 200
Freeman, engraver, 200
Freemasons, 239, 240
Frith, Mr. W. P., 2 n

296

SIR WILLIAM BEECHEY

Frogmore Palace. 53*
Fuller. Miss. 154, 251 (a)
Fuseli, H., 21, 22, 101, 102

GAINSBOROUGH, T., 202

Gambler portraits, 113, 127, 227, 228,

236, 237

Gardner. Sir Alan, 203
Garrick Club, 66
Geare, Mr. W. A., 217
Gentleman's Magazine, 14, 42, 52,

65. 163, 169, 174
George III., 56, 57-61, 63, 69, 70,

231, 234, 245

George. Prince of Wales (George IV.),
52, S3. 57. 62-63, 125, 224, 242,
244,245

Geremia, engraver, 77

Gilford, Miss, 228

Gilbert, Mr. Davis, 203

Gilpin, S., 70

Gifsies, 119, 174

Gipsy Fortune Teller, 24

Gloucester, Duchess of, 141-2, 228

Gloucester, Dukes of, 107, 119, 148-
9, 164, 225 (2), 226 (2), 227, 228,

232, 237, 239, 246, 247
Godolphin, Lord and Lady, 203
Goldsmid, Sir J., 71
Goldsmith, Miss, 209
Goldsmiths' Company, 206, 239
Goldsworthy, Major-Genl., 57
Gooch, Mrs., 67, 240, 242, 253, 254
Goodrich, Mr., 252 (2), 256 (2), 257
Gordon, Mr., 243 (3). 244
Gosling portraits, 72, 244 (2), 246,

250, 255

Gosse, Mrs. P. H., 203
Graham, Mr., 343 (3)
Graham, Sir B., i2«, 237, 238
Grantley. Lady. See Beechey, Char-
lotte £.
Grantley, Lord, 83, 84, 159, 167, 169,

195

Grave, engraver, 46
Graves. Mr. A ., 37. 112, 128
Gray, Capt., 225, 246
Greathead, 84
Green, Valentine, 80, 232
Greenwich Hospital, 163
Greenwood, Mr. and Mrs., 39, 72, 73,

225, 247
Grentell, Mr., 247 (2)

Grenville, Mr., 242

Greville, Mr., 229

Grey, Col., 140, 239

Grey, Mr., 242

Guelph Exhibition, 42, 105, 109, 142

Guildhall, London, 105*

Guillemard, John, 203

Gwyn, Mrs., 71

HADDO, Lord, 37

Hadfield (or Hatfield), Miss, 48. and

note

Hains, Mr., 259 (2)
Haire [?], Mrs., 230
Hale, Mrs., 221

Halford, Sir Hy., 118, 231, 234
Hall, Mr,, 20, 243
Hall, Mr. and Mrs., 228, 229
Hall. T., 24

Hallyburton, D. G.. 55-6
Hamilton, Col., 237, 238
Hamilton, Lady, HI
Hamilton, Sir W., 78
Hamilton, W., 50
Hampton Court, 60
Harding's ' ' Portraits of the Royal

Family," 74, 77
Hardy, Capt., 204
Hardy, T., 107, 199, 207
Harkness, Mrs., 176
Harkwright [?], Mr. and Mrs., 244
Harris, Lady, 106
Harris, Master, 222
Harrison, Dr., 240
Harrison, Mr., 242
Hart, Mrs., 251 (2)
Hasler, Mrs., 81 n, 168
Hastings, Marchioness of, 139
Hatch, Master, 54
Haydon, B. R., in
Hazlewood, F., 207
Head, Mr. J. M., 89
Heaviside, Mr., 82
Hebe, 82-4, 118, 128, 148, 234, 249
Heberden, W., 204
Heins, 18

Hemmins, Mr., 257
Herbert, Charles (and Master C), 32,

33, 221, 223
Herbert, Lady C., 222
Herbert, Lord and Lady, 39, 221 (2),

223
Herbert, Mr., 222

INDEX

297

Herbert, Mr. R. [? Rev. C. R,], 221
Herbert, Mrs. [? Miss] Georgiana,

33. 221

Herbert, Mrs., 223
Herbert, Rev. C. R., 33
Herbert, Sir Robert G. W., 33
Here, Poor Boy, take this Ha'penny,

vii., 40
Hesketh (or IleskeUs),Mr., 231, 232,

236 (2)

Hill, Lord, 133, 238, 239
Hill (Mrs.), and Child, 73, 204
Hillingdon. Lord, 219
Hilton, Miss, 82
Hinchcliff, J. G., 78
Hodges, C. H., 200
Hodges, Mr., 48
Hodgetts, T., 75, 200
Hodgson, Mr., 252 (2)
Hodson, Mrs., 235, 236
Holl, W., 113, 120
Hood, Sir S., and Lady, 103, 224
Hood, Viscount and Viscountess, 173
Hope, " Anastastius," 67
Hopkins, Mrs. F. A., 189
Hoppner, John, 9, 25, 40, 45, 50, 51,

152, 247 (2), 255
Home, Miss, 76, 175
Houlton, Aid., 224
Howard, Miss, 221
Huddleston, Mr., 238, 239 (2)
Hudson, Mr. , 20
Hume, Sir A., 233
Hunter, Dr., in

IDLE, Mrs. and Master, 204-5
India Office, 116, 138
Infant Hercules, The, 65
Inglis, Mr., 250
Innes, Mrs., 176, 191
Iris, Juno and Alcyone, 31
Irwin, Mr. or Mrs., 223
Ives, Mr. and Mrs., 31
Ives, Miss (Mrs. Bosanquet), 29

JACKSON, Mr. H. J., 193
Jackson, Mrs., 193
Jackson, Rev. H., 194
James, Miss or Mr., 257 (2)
Jerdan's "Gallery," 82, in, 113, 125,

129, 131, 203
Jerningham, Sir G., 256

Jessup, Abigail, 184

Jessup, A. P. (see Beeshey, Lady)

Jessup, W., 8

Jodrell, Lady and Miss, 163, 257, 258

Johnson, Mrs., 48

Johnson, Mrs. C., 210

Johnston, A. P. and J. P., 205

Johnstone, Mrs., 222

Jones, Mrs. Champion, 187

KEEN, Miss, 223

Kemble, J. P., 66

Kensington Palace, 60

Kent, Duchess of and Princess

Victoria, 156-7, 252, 254
Kent, Duke of, 129-130 135, 152, 224,

229, 239, 240, 241
Kilderbee, S., 132
King, Hon. Cap., 240
King, Joshua, 171
King, Lady, 81 «
King, Sir Rd., 206
Kingsford, Mrs., 195
Kingston, Cap., 259
Kits, Mr., 259
Knight's "Gallery ,"78
Knox, Mr., 222

LADBROKE, Mrs., 177

Lake, Viscount, and Son, 206

Lamb, Dr. John, 167

Lane, J. B., 209

Lane, Tbos., 206, 239 (2)

Langlands [? Longlands], Mr., 223

Langley, Mrs., 108, 224

Lansdowne, Marquess of, 228

Lavinia Returning from Gleaaing,yi

Law, Bishop, G. H., 133, 167, 238

Lawless, Robin, 206

Lawrence, Sir T., n, 35, 36, 40, 50,

51, 66, 93, 183
Leach, Sir J., 150, 246 (2), 256 ["The

Vice-Chancellor "]
Leak, W., 144, 250, 251
Leake, Miss, 54
Leathes, Major, 208
Leconfield, Lord, 80-8 1, 160, 168
Lee, Miss, 247 (2)
Leeds, Duke of, 203
Leeds, Mrs., 112, 228, 231
Lefort, Mrs., 237
Leicester, Sir J., 119, 232, 237
Le Mesurier, Thos., 47

298

SIR WILLIAM BEECHEY

Lenthall Gallery, 4

Leslie. C. R., 15, 170

Lewes, Mr. or Mrs., 221

Lewis, Mr., 233. 234

Leycester, Hugh, 150, 154, 248, 249,

250 (2)

Light, Mr, 224
Lilian, 166
Linnell, J., sen., x n.
Linwood, Miss, 207
Littledale, T., 207
Little Gleaner, The, 167, 19^
Littleton, Mrs., 249, 252
Livius, Geo., 207
Lloyd, Major, 21

Loft us [or Loftie], Mr. or Mrs., 231
London Hospital, 107, 226
Long, Genl., 238
Long, H. L*, 65
Long, Mr., 239, 240
Long, Mrs. E., 65, 253
Longlands [? Langlands], Mr. and

Mrs., 222, 233

Loudon and Moira, Countess of, 242
Louvre, The, 219
Lowndes portraits, 162, 163, 256 13),

257. 258, 259 (2)
Lowther, Viscount, 255
Lupton, T., 173, 174
Lusbington, Miss, 67
Lushingion, Sir S., 227
Lyceum, 27

Lysart [or Lysaght], Capt., 234 (2)
Lyon, Mrs., 252, 253

MACARTNEY, Lord, 37, 222
Mackenzie, 68
Macklin, C., 207
Mackworth-Praed, Miss, 211
MacNabb, Mrs., 223
Macready, Mrs., 195
McClintosh, Mrs., 251
Magdalen Hospital, 212, 242
Maitland, Mrs., 222
Majendie, H. W. , 85-6, 225
Makepeace, Mr., 49
Malcolm, Mr. W. E., 106
Maltby, Dr. E., 174
Maltby, G., 23
Manchester, Duke of, 222
Manners-Sutton, Bishop, 44
Manning, Mrs., 257 (2)
Margate, View near, 90

Marine Society, 81

Marjoribanks, Mr., 256

Markhatn, Admiral, 123, 229, 230

Marshall, Mrs., 207

Mary, Princess, 52, 53, 246

Marylebone, Parish of, 243, 247

Martin, Mrs. W., 255 (2)

Martineau, P. M., 167

Mash, Mr., 174

Massey- Main waring Sale, 83

Mather, Mr., 248

Matthews, Mrs., 235, 236, 248

May hew, Rev. S. M., 75

Maynard, Lady, 250

Maynard, Lord, 132, 235

Meares, John, 208, 223

Meg Memlies, 147

Mellon, Miss, 86-88, 225, 229

Merriman, Mr., 256

Merry, Mrs., 208

Messenger, The, 112, 114

Meux portraits, 39, 47, 49, 224

Meyer, C. F.. 209

Meyer, H., 139, 161, 199, 202, 218

Meyrick, Mrs. 251 (2)

Michlurst [?], Mrs., 238 (a)

Miles, K., 24

Military Exhibition, 73

Mirza-ab-ul- Hassan, 115-6

Monarchs of Great Britain, Ex

129

Money, Major, 21, 22
Monk at his Devotions, no
Montague, Duke of, 32, 37, 222, 223

(copies of)

Montague, Lady [? M.], 222
Montague, Lady C., 222
Montague, Lady E., 222
Montague, Lord F., 39
Montague, Lord Henry, 222, 223
Montgomery, Capt., 39
Monthly Mirror, 5, 9, 29, 32, 37, 50,

54, 60, 62, 71, 76, 84, 188, 207
Moray, Mrs., 253 (2)
Morgan, Mr. J. P., 36
Morgan, Mrs., 253
Morning Chronicle, 27
Mortimer, Thos., 209
Morton, Lord and Lady, 37, 222
Moser, Mary, 101
Mulgrave, Lord, io8n., 109, 226
Muskett, Miss, 165
Myers family picture, 229, 230

INDEX

299

NATIONAL Gallery, London, 205
National Gallery, Scotland, HI
National Portrait Gallery, 46, 105 «.,

118, 120, 125, 130, 177, 210, 213
Naval Exhibitions, 105, 106, 166, 172,

202, 205, 217, 218
Nayler, Sir Geo., 165
Neal, Sir H. B., 209, 224
Nelson, Lord. 18, 68, 74-6, 225
Nelson, Rev. E. , 72-3
Newbury, Countess of, 209
New Gallery, 80
Noel, Hon. Louisa, 146
Noel, Mrs. W., 146, 245, 246
Noel, Sir G., 250, 251
Nollekens, J., 81 «., 120-123, 126 ».,

25S (2)

Norreys, Lord, 222

North, Mr., 229, 240

Northcote, ]~,jon.

Northwick, Lord, 71 n.

Norton, Hon. Mrs., 168-9, 258

Norton, W. F., 173

Norwich, 5, 7, 17-26, 74, 163, 164,
165

Norwich, Bishop of. See Manners-
button

Nugent, T., 212

OBEN, J. G., 137

Oddie family vi., 39, 222

Oddie, Mr., 223

Onley, C. S., 164, 257

Orford, Lord, 21

Ormond, Countess of, 108 «., 109, 229

Osborn, J. T., 155

Osborne, Lord and Lady F., 210

Osuna children, 210

Owen, Miss, 178

Owen of Tooks Court, 6

Owen, Sir J. and Lady, 135, 240, 242,

252, 254
Oxencien, Sir H., 223

PALEY, Rev. W., 210, 229
Palmer, Mr., 241 (2), 242
Paoli, Gen., 232
Park, T., 38
Parke, John, 177
Parker, 215
Parker, Sir W., 105
Parry [? Perry], Lieut., 250
Partridge, J., 18

Pasley, Sir T., 48

Patteson, J., and J. S., 18, 226, 227.

Payne, Miss M. A., 210

Payne, Mr., 235 (2)

Peachey,.Capt., and Miss, 135, 240 (2),

241
Pearse, Dr. W., 210, 226, 228, 229,

237

Pedley, Mr., 247 (2)
Peel, Sir R.t 120
Peirce, Mrs., 223
Penn, John, 88
Penzance, 34
Percwal portraits, 124-5, 237, 242,

245- 256

Perry, Lieut., 248 (2)
Persian Ambassador, 115-6, 118, 232
Pettigrew's " Biographies," 204
Pettyt (or Pettit), Mr., 230 (2)
Petworth, 80. See alsoiLeconheld, Ld.
Peveril, Miss, 210
Peyton, Mrs., 257
Pfungst, Mr. H., 200, 219
Phillips, G. H., 171
Phillips, Sir Faudel-,142, 203
Phipps children, 108
Phipps, Mr., 240
Picart, G. C. , 78, 125
Picton, Sir T., 130-136, 241
Piercy, Rev. W., 211
Piggott, Mrs., copy after Downman ,

243 (2)

Pigott, Dr., 157, 242, 243
Platort, Hetnian, 243
Plowden portraits, 171-2, 249, 250
Pole, Sir C.. 211, 248, 249 (Sir T.

Poole)

Porchester portraits, 211,223, 229
Powell, Mrs., 221, 238
Poynder, Mr. and Mrs., 253 (3)
Prasger, Mr., 251
Preston, Rev. C. H., 258
Preston, Sir R.,and Mary, 120, 230(2),

235, 241 (2), 242
Price, James, 134
Prince, Rev. J., 211, 243 (2)
Prittlewell, Essex, no
Psyche, 82-5, 90, 171, 178, 195
Public Cnaracters, 5, 6, 8, 64, 71, 104,

190, 210, 214
Pulteney, Mr., 249, 251
Pulteney, Mrs. E. E., 244
Pybus, C. S., 82

300

SIR WILLIAM BEECHEY

QUILLEY, J.P., 216

RADNOR, Earl of, 76

Raeburn, Sir Hy., 160-1

Raikes, Mrs. J. M., 212, 225 (2)

Ranelegh, Lady, 252

Ranelegh, Lord, 251

Ransome, T., 24

Raphael, Mr. E. G., 187

Ravensworth, Lord, 215

Reade, Col., 236, 253

Reade portraits, 212-3, 23S (2), 237 (2)

Reading, Miss, 251 (2)

Rebecca, 76

Recording Angel, The, 232

Redgrave, R. and S., 13

Reeve, Miss L. J., 204

Rembrandt, Copy of, 233

Revoult, John, 213

Reynolds, Sir J., 7, 8, n, 16, 17, 35,

37. 70-71 »-. 125, I9I« 229, 259
Reynolds, S. W., 29, 150, 172-3,

216

Rhodes (or Rothes), Mr., 258, 259
Riddle, Mr., 257
Ridley, W.. 54, 207
Rigaud, J. F., letters from, gzttseq.
Rignall, Mr., 255
Riley, Mrs., vi.. 146, 192
Robarts, Miss E., 176
Roberts, Mr., 235
Robertson, Miss, 250
Robinson, H., in
Robinson, Mr., 31
Robinson, Mrs., 71 ».
Romney, Earl of, 80, 81 n.
Romney, G., 12, 69, 210
Rosalie and Lubin, 38
Rose, Geo., 213

Rothes (or Rhodes), Mr., 258, 259
Rothschild, Mrs., 257
Rothwell, R., 189
Rous, Lord and Lady, 49, 214, 233,

234

Roxburghe, Duke of, 214, 222
Roxby, Miss, 47, 48
Royal Academy quarrels, 90-102
Royal Academy, bandby's "History,"

12, 28

Rudd, Mr., 214
Kuspini, Cht-v. , 9, 10
Russell, J. W., 79, 244 (3)
Russell, Lord J., 198, 223

ST. ALBANS, Duchess (see Mellon,

Miss)

St. John in the Wilderness, 147, 148
St. John the Baptist, 65, 239, 240
St. Radigund's Abbev, 79
St. Switkian's Chair, 168-9
St. Vincent, Earl of, 75, 89, 103,

104-7, 179-182, 209, 218, 224 (3),

22C

Salisbury, Marquis of, 70, 86

Salomon, J. P., 214

Salte, W., 123, 235 (2), 236

Sandby, Mr., 177

Sandby, P., vi., 29, 33, 184

Sandby, T., vi., 39, 40

Sandford, Mr., 234, 237

Say, W.,82, 142, 148, 149, 164, 108,

199, 201, 202, 211
Scarlett, Mr., 251, 252
Scharf, Sir Geo., 108
Schomberg, Capt. C. M., 166
Scriven, E., 8p, 86, 129, 143, 165
Scudamore, Sir C., 176
Sedelmeyer, M., 84, 201, 209, 212
Seguier, P. F., 16
Selsey, Lord, 135
Serres, D., 31
Sharp, M., 19
Sharpe, Mrs., 178
Sharpe, W., 68
Shee, Sir M. A., 12, 136-7, 170
Sheffield. Earl of, 155
Sheldon, J., 21, 23
Shelley children, 214-5
Sheridan, Mrs., 8, 259
Siddons, Mrs., 45-6
Sidmouth, Lord, 59, 215
Sievier, R. W.,143
Sign, George and Dragon, 5 i
Simeon, E. and J., 228
Simeon, Mr., 226, 227
Simmond. See Symmonds
Simpson, John, 215
Simpson, Mrs., 223
Sitwell, Sir Geo., 216
Skelton, Mr., 140
Skelton, W, 108, 109, 125, 129, 156,

212,218

Skirrow, Mr., 234
Skottowe, Mrs., 79
Slade, Mr., 246, 250
Sligo, Marchioness of, viii., 113-4,

227 (2)

INDEX

301

Sroirke, R., 13

Smith, Ashton, 154, 216, 248,249, 259

Smith, B., 59

Smith, J. Chaloner, 25, 39 «.

Smith, J. R., 200

Smith, Mr., 223

Smith, Mrs. T., 211

Smith, Sir C., 246, 247

Snow, Mrs. F., 216

Soane, Mrs., 221

Society of Artists, 19

Somerset, Duke of, 171

Somerset House Gazette, 183

Somerville, Lord, 61, 154

Sophia of Gloucester, Princess, 80,

225

Southey, Dr., 177
Sparke, B. E., 171, 243, 245
Spencer, C., 190, 256
Spicer, Mrs., 86
Spielmann, Sir Isidore, vi., 192
Stafford, Marquis of, no
Staines, Sir W., 81
Stanley, Lady, 247, 248
Stanley, Sir Thos., 245, 248 (2)
Staveley, Lady, 151
Stephen, Mrs. O. L., 204
Stephens, Sir P., 48, 252
Stephens, S., 216, 221
Stephenson, Col., 249
Stevenson, Admiral, 217
Stewart, Miss, 246
Stocks, L., 85
Stopford, Lord, 37
Storer, Mrs. C. , 176
Stowell, Lord, viii.
Stow-in-the-Wold, 5
Strachey. Dr., 9, 10, 44, 221
Stradbroke, Earl, 49, 132
Stuart, Miss, 222, 245
Sullivan, Mr., 227
Sussex, Duke of, 74, 124, 129 »., 301,

133 «., 134, 240, 241, 247
Symonds, Dr., 44, 46, 81, 232
Symonds, or Symmons, J. and Mrs. ,

161, 162, 232 (3), 233

TALBOT DE MALHIDE, Lord, 77
Tatnell, The Misses, 225 (2)
Temple, Lady, 79
Tennant, Sir C., 31 n.
Thomason, Mr., 227
Thompson, Mr., 236, 238

Thomson, I., 78, 140, 204

Thorpe, Aid., 250

Tibbit, Mrs. and child, 254, (a), 256

Times, The, 14, 46, 208

Tomkins, P. W., 131

Torris [?], Mr., 238, 239

Tower, Capt., 239, 240

Towers, Mr. , 227, 234

Townley, C., 48

Townshend, Lord, 19

Tracy, Hon. Henrietta, 217, 224

Tracy, Lord, 44, 217

Trafford, Mr. E. S.. 217

Tredecroft, C., 81 «.

Tresham, H.,94

Trinity House, 172

Trotter, J.,64-5, 234

Trotter, Miss, 256

Trowbridge, Sir T., 217

Turner, Charles, 86, iot>, 120, 138,155,

158, 202, 203, 206
Turner, Dawson, 7, 18, 23, 215
Turner, Mr., 257
Turner, Rev. Mr., 249
Turner, Sir G. P., 211, 214, 236
Twiss, H., 46
Twistton [?], Miss, 249
Tyrone, Lord, 223

Una, Lady as, 154
United Friars of Norwich, 24
Universal Magatinc, 68
Unthank,Col., 164
Usher, Capt., 168

VAN DYCK, sketch of (or by), 257

Vendramini, G., 126, 213

Venus and Cupid, 81 a., 90, 118-9, I6°i

244

Vernon, Mr. , 258
Vicars, Messrs., 204
Vice-Chancellor, i.e., Sir John Leach
Victoria Exhibition, 107, 149, 156
Victoria, Queen, 156
Vincent, Mr., 231

WADDINGTON, Mrs., 223

Wagstaff, C. E., 78

Waithman, Mr., 234 (2)

W aide grave, Lord and Lady, 80, 155

Waller, The Misses, 218

Wallis,Mr.,44

Wannemaker, Mr. R., 212

302

SIR WILLIAM BEECHEY

Warburton, Sir P. and Lady, 131,

235(2^236(2)

Ward, James, 61, 67, 70, 154,204, 213
Ward, John, 218

Ward, Mr. and Mrs., 255,258 (2)
Ward, Mr. T. H.,4O, 60, 70
Ward, William, 144, 145, 151, 157, 218
Wardlaw, Major, 206
Warren, C., 130
Warren, Sir Geo., 223
Waterloo, 136

Watkins, Mr. and Mrs.. 240, 241, 245
Watson, Capt., 132
Watson, Caroline, 76, 84
Watson, Miss, 48
Watt, J., 78, 231
Watts, A. A., 5
Watts, D. P., 78-9
Webb, Mr., 224. 225
Wedderburn Children, 65
Welbank, Capt., 242
Wellington, Duke of, 75, 218, 239
West, B., 91, 124
Westall, R.. 51
Wetherall, Genl., 242 (2), 258
Wetherall, Mrs. and Miss, vii., 112,

258(2)

Wheatley, Francis, 35
Wheeler, Mr., 222
Whitbread, S., 218
Wilkie, D., IIO-HI
Wilkin, C., vii., 40

Wilkins portraits, 175-6, 137, 241, 257
William IV., 172, 174

Williams, John, 43, 44, 45, 49, 50

Wilmot, Mrs., 223

Wilmot, R., 39

Wilson, John, 219

Wilson, Rd., 183

Wilton, Mrn 244

Windsor Castle, 70, 156

Windsor, Lady H., 249

Windus, Mr. W., 192

Winter, M., 213

Witch ofEndor, 24

Wivell, A., i2i

Walcot, J., 35

Wood, John, 177

Wood, Miss, 177

Woodcock, R-, 24

Woodford, Mrs., 250

Woods, T. H.,8

Woolnoth, T., 143

Worthington, Mrs., 191, 255, 256

Wright, Mrs. J., 218

Wurtemberg, Queen of, 53

Wyndham, Miss, 85

Wynn, Mr., 222

YELD, Miss, 252

York, Duchess of, 71, 108, 928, 234

York, Duke of, 57, 59, 61, 70, 73-4,

119-20, 225, 226

Young, J., 24, 25, 26, in, 119, 202
Young, Lady, 48, 49
Young, Sir W., 67

ZOFFANY, J., 7

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